text: (Note: Animated features for this page can be found on the SeinfeldIsUnfunny/WesternAnimation or SeinfeldIsUnfunny/{{Anime}} page)* EarlyFilms: A lot of them are very short (only a few seconds) and often feature rather mundane scenes (a train arriving, people leaving from a factory, a man feeding his baby). But back in the late 19th century people crowded to see these things because the fact that these images moved was a novelty then. ** ''Film/TheKiss'' (1896) is a good example. All that we see are a man and a woman kissing, nothing more than that. But at the time of its premier it caused an outrage. MoralGuardians felt this movie was "disgusting" and even "pornographic" and ought to be banned. The modern day viewer will probably not get all the commotion but it was the [[VictorianBritain Victorian era]] after all. One must also understand that people had never seen such intimacy between two people on a big movie screen before. * The very existence of the MPAA rating system. Before its debut in 1968, the film industry was still following the outdated [[UsefulNotes/TheHaysCode Hays Code]], which severely limited the creative freedom of filmmakers with its heavy-handed censorship. The new rating system meant that films that would never have seen the light of day under UsefulNotes/TheHaysCode could now be released with cautionary "R" and "PG" ratings instead of being heavily censored or banned outright. Beginning in TheSeventies, movies such as ''Film/TheGoodTheBadAndTheUgly'' and ''Film/AClockworkOrange'', which would never have been possible under UsefulNotes/TheHaysCode, changed filmmaking forever with the boundaries that they were able to push under the new system. This isn't as obvious today, now that the organization has gained a reputation for stifling creativity instead of encouraging it. Studios now have a bit of a tendency to edit movies to get lower ratings, and the MPAA has attracted a lot of criticism for [[DoubleStandard giving independent films higher ratings than studio films with similar content]]. ** Subsequently, the PG rating. Today, with PG-13 being the default rating for many family films and the R rating being a lot more prevalent in genres other than Action, it's hard to believe that PG was once considered somewhat edgy and a cause for concern among parents.* Horror movies in general. Many horror movies that first came out in the late 1960s and 1970s were seen as incredibly over-the-top in their depiction of violence, and a lot of them received 'R'-type ratings in many countries. Compared to now, in which TorturePorn movies with ridiculously graphic depictions of people being tortured and murdered now being the norm in horror movies, many once cutting-edge horror movies of the 1960s would seem tame to a new viewer.* Pretty much every film whose only key to success upon its initial release are its groundbreaking SpecialEffects is eventually doomed to suffer from this trope if they don't have any other qualities to fall back on (like a good story) once those 'groundbreaking special effects' become more and more the norm and even start to look dated as the years go by.* {{Deleted Scene}}s. While leaving scenes on the cutting room floor has been an inevitable part of the film editing process as long as movies have existed, the advent of [=DVDs=] suddenly made it possible to include those scenes as a special feature, giving curious fans greater insight into films by showing them ideas and plot points that didn't made the final cut. Though they might be seen as a "standard" feature today, there was a time when audiences couldn't see ''any'' part of a film that didn't make it into the final version, since films couldn't be seen anywhere but in the theaters. Case in point: part of the reason that the ''Franchise/StarWars'' rereleases got so much buzz in the mid-1990s is because they reinserted many cut scenes from the original films, which even the most devoted of fans had never seen before, and couldn't see anywhere else; in a time before audiences knew to ''expect'' {{Deleted Scenes}} in any $20 DVD, there was something undeniably exciting about getting to see lost footage in a classic film from 1977.* ''Film/AceVenturaPetDetective'', ''Film/BillyMadison'' and ''Film/HappyGilmore'': It seems hard to believe that movies such as these were actually considered raunchy, filthy films when first released in 1994, 1995 and 1996. Today, they seem pretty tame compared to most comedy films being released.* ''Film/{{Airplane}}'' was originally an intentionally corny, funny comedy, and was a huge hit in its time. However, its corny style of humor has been imitated and parodied so many times (often poorly) since that today it may be more likely to be seen as the bad kind of corny humor than the good kind. It even seems very straight-laced compared to the wilder, wackier spoof films that followed it in the 1980s and beyond. ** The film is also a parody of disaster movies of the time like "Airport" and "Zero Hour", which because of this movie's camp and because of how much airplane travel has changed, contemporary audiences aren't likely to catch certain elements that are being spoofed, as they are no longer in public consciousness. ** On that note, up until 1980 Creator/LeslieNielsen was a respected dramatic actor, and the whole joke with his character was seeing him bring his usual gravitas to this kind of material. And of course, afterward his career took a hard right turn into doing nothing but these kinds of films, until [[LeslieNielsenSyndrome they completely eclipsed his public image.]]*** This is the case with so many actors from that film: Robert Stack, Lloyd Bridges, Peter Graves, etc.** The film ''Film/WrongfullyAccused'' can also suffer from this. At the time, it was actually part of the joke that the film cast such a wide net in the material that it parodied. Nowadays, every parody movie is like that, and the worse for it. *** It also pokes fun at a lot of movies that were popular at the time it was made, so the audience would be able to easily recognize the subject of the joke. However, as time has past many of the movies in question have waned in popularity since then and may not be immediately recognizable.* ''Film/{{Alien}}'' and its sequels. It looks like a clichéd movie, but invented or popularized most of the relevant tropes for that genre (though even at the time it was intended to do little more than ride the coattails of ''Franchise/StarWars''), as well as propagated its xenomorph alien designs throughout many other films.** An interesting move on the part of the producers of ''Alien'', that served to heighten the tension at the end, but which cannot work now, was [[spoiler: to kill the characters off in reverse order of the fame of the actors playing them]]. It is difficult now to realize that Creator/JohnHurt was probably the biggest box office name in ''Alien'', having just done ''Series/IClaudius'' for the BBC, and the film ''Film/MidnightExpress'', and that both Veronica Cartwright, who had been acting since childhood (she was Violet Rutherford on ''Leave It to Beaver'', and the sister of Angela Cartwright of ''Series/LostInSpace''), and Harry Dean Stanton, a well-established character, were both much more bankable than Creator/SigourneyWeaver, who, at the time, was unknown. She had a single film credit, other than a brief role in ''Annie Hall'', and a few TV appearances. ''Alien'' made her career. So, at the end, when [[spoiler: no one is left alive other than the actress the audience had never heard of, it seems very unlikely that she will survive at all, let alone heroically (and indeed, in the original script, she didn't- the alien bit her head off and dictated the final log in her voice).]] However, now, in the 21st century, she is ''Creator/SigourneyWeaver'', Sigourney Weaver ''kicks ass'', and the film could not end any other way. [[ForegoneConclusion Knowing that she appears in all of the movies as the main hero also helps kill any sense of fear for her safety.]] [[note]]Though that didn't stop her in ''Film/{{Alien 3}}''.[[/note]]** Perhaps most noticeable with the second film's [[UsedFuture seamy vision of the future]], which was (at the time) notable for being seen through the eyes of a platoon of cynical, working-class soldiers. Considering how popular the SpaceMarine trope has become since 1986 (thanks to the likes of ''Franchise/{{Halo}}'', ''Franchise/StarCraft'', ''VideoGame/{{Doom}}'' and ''TabletopGame/{{Warhammer 40000}}''), to the point that the trope now borders on cliché, this idea doesn't seem nearly as original as it once did. * Creator/AlfredHitchcock. This trope could just as easily be called ''Hitchcock Is Not Suspenseful.'' Anything of his was '''the''' defining work in suspense when originally produced, but looks sad and overdone now that it's been copied to death.** Creator/AlfredHitchcock's suspense films have had much of the suspense removed due to the rampant parody. On the other hand, the ''Film/RearWindow'' trope has been parodied so many times that some viewers are taken by surprise when the old film plays it straight instead of turning into a case of StabTheSalad.** ''Film/{{Psycho}}'' was groundbreaking for its time by essentially founding the slasher film genre, but now [[PsychoShowerMurderParody the infamous shower scene has been referenced (and often parodied) by other horror films to the point of saturation]]. When it was first released, the shower scene was an enormous shock - the idea of killing off the character played by the best-known actress in the film one-third of the way into the running time was quite literally unheard of.*** Not only that- she was the main character in the film up to that point. Audiences initially didn't know who to identify with once Marion Crane was dead.*** The movie was also probably the first to feature a twist ending based on [[spoiler: two characters turning out to be one individual with multiple personalities]]. Hitch went to great lengths to keep the ending's secret from leaking out, but today the idea has been imitated so many times that it's come to be seen as a stock plot device in thrillers. In the 2002 movie ''Adaptation'', Nicolas Cage's character remarks at one point, [[spoiler:"The only idea more overused than serial killers is multiple personalities."]]** ''Film/NorthByNorthwest'' suffers from this. A modern viewer who has never seen it before can recognize trope after action movie trope and find the film boringly predictable as a generic action movie, perhaps unaware that it was a defining film in that genre and that films like ''Film/JamesBond'' and ''Franchise/IndianaJones'' were heavily influenced by it. * ''Film/AmericanBeauty'' inspired so many other "dark heart of suburbia" dramas that the film has lost a lot of its initial impact. In particular, the "dancing plastic bag" scene has been parodied/taken out of context so many times that the original sequence can come off as {{Narm}}.** Interestingly enough, American Beauty is quite similar to ''Film/TheIceStorm'', another "dark heart of suburbia" movie, which came out two years before American Beauty. (The similarities between the two might be coincidental, though, as Alan Ball wrote the original version of ''The American Beauty'''s script before ''The Ice Storm'' – or the novel of the same name it was based on – had been released.) This would make ''The Ice Storm'' the original SeinfeldIsUnfunny example, except that ''The American Beauty'' is much better known, and therefore the likelier inspiration for the various films that followed.** It also doesn't help that the StepfordSuburbia trope has been with us for nearly a century now, having first notably appeared in the SinclairLewis novel ''Babbitt'' in the 1920s - [[UnbuiltTrope at a time when the suburban phenomenon was just getting started]].* ''Film/AmericanPie''. Although all of its bits are household shtick today (just try to find more than a few individuals who ''don't'' know what a [[StacysMom "MILF"]] is), it is perhaps impossible for anyone under the age of 35 to appreciate what a milestone that film was, even the EndOfAnEra. Look no further than the scene in which the boys [[TheInternetIsForPorn upload Web links]] of [[SensualSlavs the sexy Czech exchange student]] stripping down to her underwear and then taking off her bra before putting on Jim's ''unbuttoned'' pajama top. Not only does the camera ''not'' cut away, but it lingers on Shannon Elizabeth's breasts for what seems like forever. For over a decade prior to 1999, makers of teen films had been terrified of exposing a single nipple for fear of losing the coveted PG-13 rating -- and along comes this R-rated teen comedy that's not afraid to be what it essentially is, and becomes surprisingly successful too. The mainstream media certainly took notice, comparing ''American Pie'' to the original (and R-rated) "teen-sex" movies of the late '70s and early '80s, like ''Film/{{Porkys}}'' and ''Film/FastTimesAtRidgemontHigh''. You might even say that the ''Pie'' franchise, together with the internet and ''WesternAnimation/SouthPark'', triggered a second sexual revolution in American popular culture.* ''Film/AnimalHouse'' was the TropeMaker or TropeCodifier of many of the [[WackyFratboyHijinx frat-house comedies]] that followed it. Nowadays, it seems horribly cliched, but it was doing a lot of these jokes for the first time. The falling-ladder scene has little effect for the children of Generations X and Y, who saw it copied in countless cartoons and teen movies.** However, if you ''expect'' it to be tame (see also ''King Kong'' below), ''Animal House'' can still be quite shocking. Gen-Y'ers might be surprised by the scene in which Flounder is forced to do push-ups over a pile of horse manure, having believed that it was ''Film/TheresSomethingAboutMary'' (or another comedy from the mid-to-late 1990s) that originated such "gross-out" gags.* ''Film/AnnieHall'' is the TropeCodifier for a great deal of modern American film, so much so that it won the Academy Award for Best Picture [[ComedyGhetto despite being a comedy]]. Its use of NoFourthWall and non-chronological editing was mindblowing for 1970s audiences. Now, not so much, as many films have aped its style, FunWithSubtitles first and foremost.* ''Film/AustinPowers'', while not the first film to use an OverlyLongGag, was perhaps the first film to derive the ''majority'' of its humor from it. When it first came out, it was a sleeper hit that got VindicatedByCable and arguably became one of the most popular comedies of the '90s, primarily because its humor was in such sharp contrast to the type of slapstick comedy that was popular at the time. Nowadays, the OverlyLongGag has become such a comedy staple, it's become harder to tell why the ''Austin Powers'' films were such a big deal to begin with.* Creator/TimBurton's 1989 take on ''Film/{{Batman}}'' was considered [[DarkerAndEdgier dark and edgy]] at its time: perhaps not compared to the Batman comic books of that era, which influenced it, but certainly compared to the {{camp}}y [[Series/{{Batman}} 1960s live action show]] or the 1970s animated ''WesternAnimation/{{Superfriends}},'' which was how most of the public was familiar with Batman. For a time, it was considered to be not only the definitive conceptualization of Batman but the greatest superhero film ever made. Now it seems tame, especially when compared with Creator/ChristopherNolan's [[Film/TheDarkKnightSaga Dark Knight saga]] and the Franchise/MarvelCinematicUniverse, which have greatly eclipsed it in terms of sheer epicness. Absurdly, Burton himself commented on the Nolan films by saying that things had changed from the days when he wasn't allowed to do a "dark" Batman as Nolan did, when in fact the whole point of Burton's version of Batman was that it ''was'' dark, and Nolan's interpretation would never have been possible if it hadn't been for Burton's!* In the early 1930s, and for many years thereafter, ''The Big House'' (1930) was hailed as a masterpiece of authentic, gritty, edgy (there's even a blatant cocaine reference in the very first scene), and anti-establishment American cinema, complete with a near VillainProtagonist (who's a sociopathic murderer) portrayed as a LoveableRogue, [[CoolPeopleRebelAgainstAuthority rebellion just for the sake of rebellion condoned and even encouraged]], and a DownerEnding for a film produced at the start of UsefulNotes/GreatDepression! What's even more incredible is that the studio willing to take a chance on ''The Big House'' was Metro-Goldwyn-Mayer, the most socially conservative of the five major studios. But it was so popular that it inspired countless imitators over the next decade, some of them [[PlayedForLaughs outright parodies]]. As a result, any film critic can walk you through it and point out all the "prison-film" stereotypes that have been done to death in the eight decades since (and it also doesn't help that the aforementioned SociopathicHero is portrayed by Wallace Beery, an actor who is pretty much a walking ClicheStorm). * ''Film/TheBirthOfANation'' invented or popularized many features that are standard in modern cinema, such as cutting between different locations to increase suspense during action scenes. Someone watching the film nowadays won't think twice about these innovations, while the [[ValuesDissonance blatant racism and hero-worship of the Klan]] are unfortunately a lot more noticeable.* ''Film/{{Blade}}''. The rebirth of the SuperHero movie genre also comes to mind. Most people credit ''Film/{{X-Men}}''[='=]s smooth cinematography and darker take... and completely forget that ''X-Men'' borrows heavily from it. At the time, it was a sleeper hit and probably the film that truly revitalized the comic book movie market after ''Film/BatmanAndRobin'' single-handedly killed it.* ''Film/BladeRunner'' popularised a [[FantasticNoir number]] of [[WhatMeasureIsANonHuman sci-fi]] [[CyberpunkWithAChanceOfRain conventions]], and as a consequence, the impact can be somewhat lost on audiences who have already seen the many imitators and their intellectual androids, ugly dystopias, and drunken future cops.* ''Film/TheBlairWitchProject'' was the film that brought both {{found footage|Films}} and internet-based ViralMarketing into the mainstream, allowing the micro-budgeted indie horror flick to become a box-office smash and a cultural touchstone for the late '90s/early '00s. At the time, the idea that it really was was the "recovered footage" of a group of documentary filmmakers who went missing ''was'' the entire gimmick. Between the many, many, ''many'' found-footage horror films that have employed similar concepts, and the fact that the passage of time has distanced the film from its revolutionary marketing campaign, this can be lost on modern viewers, and can seem almost quaint. While it still enjoys a decent reputation, watching it today, without having been exposed to the torrent of hype in 1999, can make one wonder what was so scary about it.** There's also the fact that, as the first successful found-footage film, it was something of an UnbuiltTrope example of the genre. It took its conceit very seriously -- the three lead actors were chosen for their improv experience, mainly because there was no script beyond a basic outline. As a result, it often takes on a rambling, conversational style, essentially 82 minutes of improv. While the fact that it's clearly not following a script lends the film an aura of authenticity that figured heavily into its success, it also means that, for somebody who's seen one of the more polished and "conventional" examples of the genre since, it can seem like nothing more than three people lost in the woods yelling at each other.* ''Film/BlazingSaddles'' is rumored to be one of the first, perhaps the first film ever, to include a fart joke. It wasn't, since there were fart jokes as early as the Great Depression era. It ''was'', however, the first film to ''blatantly'' do a fart joke, without bothering to [[GettingCrapPastTheRadar Get Crap Past The Radar]].* ''Film/BroadwayMelody'', the second film to win the UsefulNotes/AcademyAward for Best Picture and the first all-sound musical, was a '''huge''' deal when it was released. However, its look at the goings-on on a Broadway musical became clichéd by the mid-'40s, thanks to nearly every movie about Broadway copying its basic set-up. Add the fact that, as it was the first movie musical, Hollywood still had a lot to learn about blocking musical numbers to avoid looking 'stagey'.* ''Film/{{Bullitt}}'' was considered the definitive car chase movie in its time, but was soon supplanted by ''Film/TheFrenchConnection'' and others.* ''Film/TheCabinetOfDrCaligari''. A lot of stuff regarding it. Many modern audiences have never even heard of it, but they've certainly felt its presence through imitation.* The ending of the 1976 version of ''Film/{{Carrie|1976}}'' is often ranked up there with some of the greatest scary moments of all time. Many people, not knowing that ''Carrie'' was the first horror film ''ever'' to have a shock ending like that, wonder why, seeing as how it's become practically expected of a horror film to shock the audience one last time. Nowadays, the final scene doesn't seem so scary anymore.** On the other hand, the shock ending of ''Film/FridayThe13th1980'', which blatantly ripped off ''Carrie'', is still considered quite scary to modern audiences.* {{Website/Cracked}}'s list of the [[http://www.cracked.com/article_18664_5-annoying-trends-that-make-every-movie-look-same.html "5 annoying trends that make every movie look the same"]] shows us how once clever and innovative cinematography techniques have been copied to death in the past 10 years to the point that they're almost in every movie.* ''Film/CitizenKane'', often times trumpeted as "The Greatest Movie of All Time," tends to inspire "what's the big deal?" responses from first time viewers, especially since PostModern movies have become the norm and the cinematography has influenced so many other films.* ''Film/CrouchingTigerHiddenDragon'', the first Chinese {{Wuxia}} (periodic Kung-Fu) movie to become truly successful in the West, suffers from this. It's much harder to screen such a movie nowadays because people can't look past the "tacky" kung-fu with its flying about and running on walls -- which has been imitated repeatedly in many "Hollywoodian" action films for the past ten years. Of course, it wasn't original per-se, as Wuxia films were already seen as dated in their homeland (China/Hong Kong), but in the West this was regarded as a new phenomenon and therefore taken with more respect. It won an Academy Award and still lingers around the middle of the IMDB's Top 250 list -- and for many good reasons other than the dazzling fights.* ''Film/{{Daredevil}}'', the 2003 film, is today remembered for its shortcomings and disappointing box office performance. However, compared to each of its predecessors which give out a varying degree of surrealism throughout each scene (as if telling the viewers that they should never forget that they're watching a superhero movie), viewers who enjoyed watching ''Daredevil'' in the theaters noted that certain scenes made you almost forget that this is a superhero movie. This apparently became a measuring stick for the superhero movies that followed, which used higher levels of realism, thus overshadowing this movie that, so to speak, took a dare.* ''Debbie Does Dallas''. To modern eyes it watches like a porno ClicheStorm. That's because it was more or less the comedic template for the porn industry. Likewise, ''The Devil In Miss Jones'' for more dramatic fare.* ''Film/LesDiaboliques'' was widely considered to have one of the most shocking original {{twist ending}}s of all time when it was first released. But after fifty years of films copying this ending, modern audiences are often able to predict what will happen.* ''Film/DieHard''. In the eighties, action films preferred {{invincible hero}}es who slaughtered mooks by the dozen with casual disdain. ''Die Hard'' popularized grittier and more realistic action, with heroes who are more vulnerable and suffer from character faults. It also popularized the concept of action movies confined to a limited space, a setup that this very wiki calls "DieHardOnAnX". (For example, ''Film/{{Speed}}'' is "''Die Hard'' on a bus.") Also, at the time it came out, people were shocked at the idea of a comedic actor like Creator/BruceWillis being an action star. Nowadays, what with TomHanksSyndrome, comedic actors doing serious roles aren't nearly so amazing. Plus, like with Nielsen, some people don't even know that Willis got his start in comedies.** To a lesser extent, even John [=McClane's=] famous CatchPhrase ("Yippee-ki-yay, motherfucker!") suffers from this a bit. If you already know it as [=McClane's=] CatchPhrase before you see the first movie, it can be hard to realize that it was originally just a well-placed ShutUpHannibal to Hans Gruber when he tried to break [=McClane's=] spirit by mockingly suggesting that [[YouWatchTooMuchX he watched too many cowboy movies]]. Divorced from its original context, it's still an awesome line, but not quite the ballsy TakeThat that it originally was.* ''Film/DirtyHarry'' and ''Film/TheFrenchConnection'' are notably responsible for many tropes relating to the CowboyCop and the genre in general.* ''Film/TheExorcist''. At the time it was released, it was considered to be the most shocking and horrifying film ever created. There were stories of audience members fainting and having to leave the theater due to being so disturbed by the movie. Nowadays, many of the scenes in the film come across as more comical than scary, especially with how subdued later films with similar premises would take the idea.* ''Film/LaDolceVita'' is a film where the "hero" is an amoral CasanovaWannabe journalist type who hangs around lots of decadent celebrity parties and [[Music/TheRollingStones can't get no satisfaction]]. Precisely what made it seem so racy and different in 1960 and so long and ordinary now. Indeed, film buffs were complaining about how tame it had become as early as the '70s.* Creator/FritzLang. Ditto the sci-fi tropes in ''Film/{{Metropolis}}''. And the criminal mastermind/underworld tropes in the ''Film/DrMabuse'' films. And the backwards countdown in ''Film/WomanInTheMoon''. In fact, this might as well be called Creator/FritzLang Is Unoriginal.* ''Film/FinalDestination'': The [[Film/FinalDestination1 first film]] was considered genuinely frightening with audiences in suspense at what would finish off the characters or whether they would survive at all. Nowadays, everyone knows that the ''Final Destination'' characters are going to get bumped off creatively and, while there are still some films in the series that can create suspense (the [[Film/FinalDestination2 second]] and [[Film/FinalDestination5 fifth]] especially), they can't replicate the suspense of the original, which in turn is less scary these days because everyone knows what to expect from a ''Final Destination'' film.* ''Film/GeorgyGirl''. When it was being made and premiered in the 1960s, the film was considered rather edgy and scandalous (almost earning an X rating) due to topics like the then-current sexual revolution, mentions of abortion, along with being part of a wave of British cinema that focused on the changes TheSixties have brought to Western society. Nowadays, it's considered rather tame and inoffensive fluff, especially when compared to more revolutionary films of the era.* ''[[Film/{{Gojira}} Godzilla]]'', the original 1954 film. At the time of its release, it was groundbreaking for the Japanese film industry. Many people today ridicule older Franchise/{{Godzilla}} films for the reason of them being "[[PeopleInRubberSuits Man-in-suit!!!]]" made films. What they fail to realize is that had it not been for suitmation, most special effects as we know them today (such as motion capture CG, which utilizes similar techniques to suitmation) would not exist. This is despite the fact that ''Godzilla'' actually contained very few suitmation shots. Like other films at the time, it mostly made use of stop-motion and clever editing (although later films in the series were almost entirely suitmation). That said, the original may still shock modern audiences who expect something akin to the LighterAndSofter versions of the creature that were often aimed at children.* ''Film/{{Grease}}'' is today considered almost unwatchably corny, or at the very least SoBadItsGood, whereas in TheSeventies it helped start a [[TwoDecadesBehind huge wave of nostalgia]] for TheFifties. It also counts musically. At the time, the idea of mixing (then) current music like disco with older styles (1950s RockAndRoll) was unheard of. It was also one of the first movies to both portray the Fifties sympathetically ''and'' to depict people living in that era as a lot more "cool" than they're usually credited. * ''Literature/GreatExpectations''. Modern viewers watching Creator/DavidLean's adaptation of the Dickens classic might roll their eyes upon seeing [[JumpScare Magwitch pop out of the frame at Pip in the graveyard like a cheap horror movie jack-in-the-box]], genuinely startling though it is -- because they won't know that this was the first time that ever happened in a movie. The same thing might occur with [[spoiler: a seemingly dead Alan Arkin [[OnlyMostlyDead suddenly lunging out]] at Audrey Hepburn]] in ''Film/WaitUntilDark''. It shocked everyone at the time because they weren't used to [[spoiler: the villain doing that after he'd been apparently killed off]], but today most people will likely see it coming.* From the SlasherMovie genre:** ''Film/{{Halloween 1978}}'' seems today a clichéd, formulaic slasher film. But it created the clichés and established the formulas.** Ditto for ''Film/FridayThe13th1980'', which came out before slashers became predictable. According to the filmmakers, people watching it on the big screen would literally be shouting "don't go in there!" and "don't open that!" in genuine fear for the characters. These days, anyone exposed to slasher films knows that of course they're going to go in there and of course they're going to get killed in a clever and creative way.* ''Film/HouseOnHauntedHill1959'' was terrifying when it came out in 1959, and its ending gimmick was revolutionary. Now the film can come across as just another old haunted house flick that's boring and/or campy and has inspired a Podcast/RiffTrax parody commentary. * When ''Film/HouseOfGames'' came out in 1987, the idea that [[spoiler:everything that happens in the movie is [[MassiveMultiplayerScam a huge con]]]] was still relatively fresh. (Though similar plots had been used in earlier movies, such as ''Film/{{Sleuth}}''.) Since then it has become such an established cliche of con artist movies that the viewers pretty much expect it, which is why [[spoiler: the PlotTwist]] is much easier to guess now than it was in 1987.* When ''Film/TheIncredibleHulk'' came out in 2008, many people were awestruck by [[spoiler:Film/IronMan Tony Stark]]'s [[TheCameo cameo]] in TheStinger. This was Marvel's intent, as they were attempting to build a [[Franchise/MarvelCinematicUniverse shared universe of movies]] that would lead to, in Stark's words, [[Film/TheAvengers2012 "a team"]]. After ''other'' movies in the MCU, namely ''Film/{{Thor}}'', ''Film/CaptainAmericaTheFirstAvenger'', and of course, ''Film/{{The Avengers|2012}}'' - which was a culmination of the previous movies - ''TIH'''s Stinger no longer has the same awe that it once had. The fact that ''TIH'' made the least money out of all the MCU movies, coupled with Bruce Banner's [[TheOtherDarrin recasting]], probably didn't help matters much.** You can make the argument that ''The Incredible Hulk'' was the first to do the WorldBuilding and ArcWelding of the MCU. For instance, the Hulk was a product of a modern-day revival of the [[ComicBook/CaptainAmerica Super-Soldier Serum]]. Furthermore, the movie was the first MCU film to use the ComicBook/{{SHIELD}} logo, and some of the technology used to defeat the Hulk was from [[Film/IronMan Stark Industries]]. Again, the Incredible Hulk's reputation has been ignored by later movies in the franchise who have made more blatant examples of {{WorldBuilding}}.* ''Franchise/IndianaJones'' is ''the'' TropeCodifier for most adventure movies - almost every AdventurerArchaeologist has at least some ShoutOut or {{Homage}} to Franchise/IndianaJones, whether done intentionally or not. However, Indiana Jones was not without his inspirations (including ''ComicBook/TheAdventuresOfTintin'') - and watching them now will probably result in people thinking they are quite cheesy. * Creator/JackieChan. Through the 1970s, Chinese martial arts films were a deadly serious business, with grim plots and frequent {{Downer Ending}}s probably best known today from the films of Creator/BruceLee. Then Chan came along with the idea that you could make a martial arts film that was supposed to be fun, or even a straight-out ''comedy''. Chan's autobiography gives a fascinating view of just how powerful a mindset he was up against when making his early comedy films like ''Film/HalfALoafOfKungFu'', with the public at large pretty much calling him a heretic. Today, these films can be pretty disappointing to people used to his later works where he felt much more comfortable throwing in jokes and wild stunts.** Jackie Chan's style came as a direct result of being compared to Bruce Lee after Lee's death. After getting tired of being touted as "the next Bruce Lee", he instead aimed to become "the first Jackie Chan", mostly by being the exact opposites of Bruce Lee. Lee's motions were long and smooth; Chan's were short and choppy. Lee almost never got hit; Chan got hit regularly. Lee was always in control of the fight, counting on his skill to win fights; Chan was never in control and had to rely on luck and improvisations to win fights.** Also, Jackie Chan pioneered many filming techniques to add excitement to the action scenes. The majority of these techniques have been used so much they are considered horrible cliches at this point. * ''Film/JamesBond''. When the movies starring SeanConnery first appeared in the early '60s, they were the sexiest mainstream movies at the time. Coming out of [[TheFifties the uptight Fifties]] and years before the sexual revolution in the later part of the decade Bond was incredibly risque. The credits sequences alone were hotter than most movies during that period. The first, ''Film/DrNo'' premiered in 1962 and made a big impact with Bond having casual sex and [[BestKnownForTheFanservice that famous -- and much-parodied -- scene of Ursula Andress coming out of the surf in the white bikini]]. ''Film/FromRussiaWithLove'' had a {{catfight}} between two scantily clad gypsy girls. In ''Film/{{Goldfinger}}'' one Bond girl was found dead, naked and covered in gold paint, and another was named "Pussy" Galore! Now while Bond still does sleep with many women in each movie, [[SexyDiscretionShot all that's ever shown is the lead-in kiss and then cut to the next morning]]. As the years have gone by and sex scenes become more graphic, the seduction scenes in even the more recent Bond movies seem almost chaste. Also all the sexual innuendo and jokes that were part of Bond from the beginning now seems corny.** Bond was even receiving this treatment by the late '60s, thanks largely to countless parodies and ripoffs. When reviewing ''Film/YouOnlyLiveTwice'' in 1967, a critic for ''Time'' magazine not-so-ironically compared the Bond franchise to that of ''Franchise/{{Frankenstein}}'', saying that "there have been so many flamboyant imitations that the original looks like a copy".** With Creator/DanielCraig's portrayal of Bond, it's difficult to appreciate Creator/TimothyDalton's portrayal in ''Film/TheLivingDaylights'' and ''Film/LicenceToKill''. At the time, Dalton's portrayal was the darkest Bond had ever been. Because Dalton's predecessor, Creator/RogerMoore, had been [[LighterAndSofter the lightest of all the Bonds]] and [[LongRunners the longest tenured]], audiences had grown so accustomed to a light, wise-cracking Bond that they were taken aback by Dalton's performance.** Creator/PierceBrosnan's portrayal of Bond. Better SpecialEffects. More subtle villains. Less camp. Self referential humor. More of a focus on the geo-political fallout of a mission. This legacy is fatally undermined by the Daniel Craig version doing all this better than the Brosnan version. * ''Film/{{Jaws}}'': The [[CrowningMusicOfAwesome so awesome]], but now sadly [[StandardSnippet so clichéd]] use of the movie's theme. In addition, it's now become a tradition of monster movies to not show the creature much until the end to increase suspense. Nowadays, everyone knows what a shark looks like.** And the reputation the film has for making people go out and hunt sharks to near-extinction hasn't helped either.** Then again, it also was the movie that got scientists wanting to research sharks and combat the shark hunting. * Creator/JohnHughes. When he was making teen films, it was rather rare for there to be films based purely on teenagers and their inner angst. It was actually unique to take the usual school archetypes and see what makes them tick. Nowadays, with at least three generations of teen dramas (as well as countless parodies and homages) that have replicated or even advanced from the analysis of such films as ''Film/SixteenCandles'' or ''Film/TheBreakfastClub'', Hughes's bite doesn't seem as sharp. [[Film/FerrisBuellersDayOff Ferris Bueller]] doesn't seem much like a suave troublemaker when compared to recent characters such as [[Series/{{Skins}} Tony Stonem]].* Creator/JohnWoo. In similar vein to Creator/JackieChan, back in the 80s a director from Hong Kong created an entirely new genre labeled 'GunFu/gun ballet' and similar. He pioneered the idea of choreographed two-gun action scenes, popularized slow motion gun fight sequences in the west, and generally brought GunsAkimbo style into the mainstream. Nowadays films like ''Film/FaceOff'' and ''Film/MissionImpossibleII'' are criticized as copying ''Film/TheMatrix'' style of gun fights (even though ''Face/Off'' is '''older'''). Hang on, who was that guy who the Wachowskis were hugely influenced by when making ''Film/TheMatrix''?* ''Film/JurassicPark''. First, this is often considered ''the'' movie that introduced CGI creature effects to its audiences on such a large scale. Before this time, CGI in movies tended to be one or two scenes out of a whole two-hour movie due to its expensive nature, with the rest being taken up by puppetry, stop motion animation and miniature work. JP was one of the first movies to use CGI in the majority of its creature special effects. Now-days, with films like ''Film/{{Avatar}}'' and ''Film/SkyCaptainAndTheWorldOfTomorrow'' being more CGI than real, a few of the effects look dated (though it still holds up better than in even earlier films, such as ''Film/TheAbyss''). Second, this was one of the very first feature films with a wide audience to do away with a lot of old dinosaur tropes, having bipedal dinosaurs stand horizontally and having them act more like birds and less like lizards. However, the film gets hit by a bad case of ScienceMarchesOn (most glaring of all, the Raptors lack feathers, which scientists are now certain they possessed.) A dinosaur fan might go back to watching that movie and laugh (or [[ArtisticLicensePaleontology cry]]) at the errors.* ''Film/KingKong1933''. At the time of its release, people thought it had the greatest effects in film. Now, with 80 years of technology advancement, two remakes of which used it, the power is somewhat lost on most people.** On the other hand, the trope is reversed if you try to view ''Kong'' as a typical 1930s film. Most aficionados of Thirties cinema are more familiar with the mid-'30s and late '30s classics, made after UsefulNotes/TheHaysCode against portrayals of sex and violence in American movies began to be officially enforced. As such, it can be shocking for modern-day viewers to see things like Fay Wray being stripped nearly nude by Kong and blood gushing from the bodies of the dinosaurs after Kong kills them. Indeed, quite a few viewers of pre-Code (1930-1934) Hollywood films have felt their jaws hit the floor at what they are seeing. ** Another case of ScienceMarchesOn when people learned that gorillas in real life are basically peaceful creatures.* ''Film/{{Koyaanisqatsi}}''. SlowMotion / TimeLapse footage of things like factories and traffic and clouds, put to music, was a new thing in the early '80s.* Among its [[SceneryPorn other]] [[Creator/PeterOToole virtues]], ''Film/LawrenceOfArabia'''s editing style was extremely innovative for its day. Hard cutting (i.e., changing abruptly from one scene to the next) or match cutting (cutting between parallel or "matching" images during a scene transition) were virtually unknown outside of art house films like the FrenchNewWave; most movies still used traditional dissolves and fades. One only need compare ''Lawrence'' to David Lean's previous movie, ''Film/TheBridgeOnTheRiverKwai'', with its more conventional editing scheme. Since contemporary movies use hard cutting as a matter of course, this aspect of ''Lawrence'' might not register with modern viewers.* ''Film/TheLongestYard'' (1974) or ''Film/SlapShot'' (1977). Anyone who sat down and watched these today would immediately groan. "Oh no, not another [[UnderdogsNeverLose scrappy]] [[RagtagBunchOfMisfits underdog team]] struggling to overcome their personal issues as emphasized by their chosen sport and antagonized by [[OpposingSportsTeam a wealthier, better-equipped team]] of entitled (but excessively-pressured) jerks. I can't wait for the second act, when the team falls apart due to the captain's arrogance/the coach's inadequacy/[[TooManyCooksSpoilTheSoup the stars' rivalry]] and, in order to [[TeamSpirit fix]] [[SaveOurTeam everything]] and win the BigGame, the team needs to call in a ringer/go on a vacation/listen to a RousingSpeech/use the PowerOfFriendship."* ''Film/TheLostBoys'' (1986) and ''Film/NearDark'' (1987) were notable for contemporizing the vampire. Before these films, vampires were almost always either [[OurVampiresAreDifferent erudite seducers or grotesque monsters]]. In ''Lost Boys'', the vampires are a bunch of hip punk teens, while in ''Near Dark'' they're vagabond badasses in a van. By bringing modern culture into the vampire mythos, these films paved the way for such properies as ''Series/BuffyTheVampireSlayer'', ''Series/TrueBlood'' and ''TabletopGame/TheWorldOfDarkness''. * ''Film/MadMax2TheRoadWarrior''. Pretty much every post-nuke movie since has featured crazed marauders on motorcycles and dune buggies fighting it out in the desert.* ''Film/TheMagician'', a silent film from 1926 featuring a MadScientist Hypnotist. At the end of the movie, when the BigBad's castle blew up, you may think to yourself, "Hey, they stole that scene from ''Film/TheBrideOfFrankenstein''", but then you realize that ''Bride'' wouldn't be made for another nine years. While ''The Magician'' may seem like a hopeless ClicheStorm now (borrowing liberally as it does from Creator/MaryShelley, Svengali, and Victorian Melodrama), it ''did'' go on to influence many horror films that were to follow in the coming years.* ''Film/TheMatrix'', heavily influenced by anime, religion, the western, and [[Recap/DoctorWhoS14E3TheDeadlyAssassin that one Doctor Who episode]] caused such a major shift in culture -- and SpecialEffects, with the proliferation of WireFu and BulletTime in action sequences, as well as stoic action heroes wearing black dusters and shades. It also reversed the decades-old trend of science-fiction films depicting a future full of colorful "futuristic" gimmicks and {{Zeerust}}. Looking at many sci-fi/fantasy films from as recently as TheNineties, it's amazing how hokey many of them already look, and ''The Matrix'' deserves the credit (or blame, depending on your attitude) for that. One reason the ''Matrix'' sequels were poorly received was that they continued playing all this stuff like it was just as revolutionary, after the first film had inspired so many imitations (particularly the BulletTime sequences).* ''Film/NightOfTheLivingDead1968'', ''Film/DawnOfTheDead1978'' and ''Film/DayOfTheDead1985'', George Romero's original "Film/LivingDeadSeries" trilogy. ** The series is credited with pretty much inventing, or at least solidifying, the modern ZombieApocalypse story: the Dead rising to feast on the flesh of the living, the total breakdown of society as a result, a small group of humans forced to work together to survive but generally failing due to HumansAreBastards, and fairly bleak endings stressing the InferredHolocaust, etc. Zombie films that don't follow this pattern are generally viewed as subverting the expectations of the audience. However, the film did not originate all aspects of the common Zombie Apocalypse playbook. For example, ''Film/TheReturnOfTheLivingDead'' was the originator of zombies eating brains.** The fact that the first film's protagonist is black was very unusual for its day, which can be lost on modern audiences. ** The fact that the origin of the zombie apocalypse is never explained and the problem is never resolved was highly unusual for the day. Usually B-movies would end with some sort of technobabble summation assuring everyone that the problem had been solved. ''Film/TheBirds'' was another example of a film around this time that subverted the trend. Films with such open endings are much more common in recent days.* Creator/PeeWeeHerman. In 1985, the notion of having a child - or ManChild - character who [[TheUnfettered is completely uninhibited and does whatever he wants without regard to how annoying or disrespectful his behavior comes across]] was still pretty novel. Traditionally, this type of character had been cast either as a villain or as extremely unsympathetic (Lampwick in Disney's version of ''Disney/{{Pinocchio}}'', for example); the most heroic (or at least sympathetic) such character up to that time had probably been [[ComicStrip/DennisTheMenaceUS Dennis the Menace]]. Now, after [[WesternAnimation/TheSimpsons Bart Simpson]], [[Film/HomeAlone Kevin McAllister]], [[Film/MaxKeeblesBigMove Max Keeble]], and just about every character Creator/AdamSandler has played, Pee-wee is par for the course.* ''Film/{{Porkys}}'' once had a reputation for being a definitive sex-comedy, with its "shower scene" having a memetic level of hotness ascribed to it. In retrospect though, the film isn't really that funny or that sexy. This is strange as some of its contemporaries (eg ''AnimalHouse'') have held up very well.* ''Film/ThePoseidonAdventure''. Just try to watch a DisasterMovie and ''not'' spot any scene, plot, or subplot that hasn't either been spoofed, homaged, recreated, or otherwise by even ''any'' action movie. It can be quite hard to believe that this movie was so novel back in the 70s (even today, it's an unlikely premise), or that several scenes in ''Film/TheToweringInferno'' had people on the edge of their seats. Heck, nowadays, people can probably point out how the elevator scene in ''The Towering Inferno'' is actually quite silly.** Another potentially off-putting thing in ''Poseidon'' would be the presence of Creator/LeslieNielsen in one of his many dramatic roles, as mentioned above.* ''Film/TheProducers''. In 1968, only 23 years after the end of UsefulNotes/WorldWarII, audiences were shocked that Creator/MelBrooks created a comedy featuring The Nazis. However, the movie did exactly what he had intended: made Nazis such a laughing stock that nobody would ever take their ideas seriously again. Today the ThoseWackyNazis and AdolfHitlarious tropes are so prevalent that it has made the idea of a Nazi-themed musical tame to modern audiences.* ''Film/PulpFiction'': The Tarantino-style dialogue, in which characters have long conversations about trivial, pop culture-laden topics that don't seem to relate to the plot, was virtually unknown and highly influential. TheNineties were littered with irreverent crime films heavily borrowing from ''Pulp Fiction'''s tone.** Similarly, its non-linear, wrap-around story following multiple sets of characters was also an inventive new approach to cinematic storytelling. Now, intersecting stories and non-linearity are commonplace in films.* ''Film/{{Rashomon}}''. RashomonStyle is always ''exactly the same trope'' they used in that other damn movie.* ''Film/RevengeOfTheNerds''. Being a nerd used to mean something. Originally seen as the first movie that was made specifically with the intention to empower nerds. Now the movie is seen as a weak analogy of nerdy social ostracism to the genuine prejudice faced by racial minorities. One could understand questioning how the films most memorable characters (the openly gay Lamar and the pothead pervert Booger) actually qualify as nerds. With passing time, it's been realized that "true nerds" (as opposed to the caricatures in this film) are still not considered any cooler. All of the so-called cool nerds were never true nerds to begin with.** In almost a bizarre case of LifeImitatesArt and thanks to computers and the internet becoming not only mainstream but a way of life, it's this caricature of "nerds" that 'has' become cool. Unfortunately for "true nerds", this caricature is closer to being HollywoodNerd (Type 1) than an accurate depiction. The entire image of a shy, skinny pale guy with glasses doing cool things has started to get a bit of romanticism attached to it; however, even in those cases, those with that view fail to realize that the reason why a nerd can do all these cool things, is because of the sheer amount of time spent on learning and working on those things.* In the late eighties, the idea of Detroit from ''Film/RoboCop1987'' being a crumbling, crime-ridden hellhole, {{Corrupt Corporate Executive}}s running everything, and and privatized police were dystopian sci-fi ideas. Now they're daily life. The horror-movie-style {{Gorn}} that the film used for shock value is also vastly more common. * ''Film/SaturdayNightFever''. There was a time when this movie's dance with the diagonal pointing was actually a new idea.* The ''Franchise/{{Scream}}'' films. While other horror films (such as the 1991 parody ''There's Nothing Out There'' and Creator/WesCraven's own ''[[Film/WesCravensNewNightmare New Nightmare]]'' in 1994) had featured GenreSavvy characters who knew they were in a horror movie, what set the ''Scream'' films apart were their commercial success and how they took the idea all the way into PostModernism, [[BetterThanABareBulb lampshading every single horror movie cliche]] while still paying loving tribute to them, creating a tongue-in-cheek brand of [[SlidingScaleOfComedyAndHorror horror-comedy]] that has been aped countless times. As a result, some degree of GenreSavvy came to be all but expected from horror movie characters that came in ''Scream''[='=]s wake. Even ''Film/{{Scream 4}}'', made fifteen years after [[Film/{{Scream 1996}} the original]], [[https://www.youtube.com/watch?v=pKCEkyWGlMc noted]] how derivative its own series had become in the context of the new horror world it created.-->"A bunch of articulate teens sit around and deconstruct horror movies until Ghostface kills them one by one? It's been done to death, the whole self-aware, post-modern meta shit. [[XCalledTheyWantTheirYBack Stick a fork in 1996 already.]] ... I can't do it. These sequels don't know when to stop, they just keep recycling the same shit. Even the opening scene, there's always some random girl who gets a call that undoubtedly ends up getting her killed, it's all so predictable. There's no element of surprise, you can see everything coming!"** Likewise, it brought back whodunits in slasher flicks, and popularized the idea of the killer having an accomplice. While the slasher icons of the '80s, like [[Franchise/FridayThe13th Jason Voorhees]], [[Franchise/ANightmareOnElmStreet Freddy Krueger]], and [[Franchise/{{Halloween}} Michael Myers]], had their identities known right from the start, Ghostface was a mystery man in a store-bought Halloween costume. For a modern viewer who's seen many similar whodunit slashers, the identity of Ghostface in the first film is easy to figure out, as is (by extension, especially after a certain scene) the fact that there are ''two'' killers.** ''Scream'' was also responsible for this trope befalling many older horror films. Nowadays, slashers do their best to eschew the tropes that ''Scream'' lampshaded in order to keep the viewer guessing, which means that the boozing, slutty characters are just as often the heroes as the victims. Having characters who are TooDumbToLive (such as the first film's example of "running upstairs when you should be running out the front door"), or following the "rules" for surviving a horror movie that Randy laid out in the first film, is now seen as a sign of lazy writing. Again, ''Scream 4'' [[https://www.youtube.com/watch?v=BdOG2-Gn044 took this one on]], with Robbie and Charlie talking about how the old rules no longer apply, and how "the unexpected is the new cliche" in modern horror.-->'''Charlie:''' "Modern audiences get savvy to the rules of the originals, so the reverse has become the new standard. In fact, the only surefire way to survive a modern horror movie... [[BuryYourGays you pretty much]] [[InvertedTrope have to be gay]]."* ''Film/SevenSamurai'' was so influential to modern film that nearly ''everything'' in the movie - from cinematographic tricks to plot devices - has been rendered a cliche. It's hard for a modern viewer to realize just how fresh and original it all seemed was when it was first made.* Creator/JohnFord's ''Film/{{Stagecoach}}'', to paraphrase the ''Halloween'' review above, "seems today a clichéd, formulaic Western film. But it created the clichés and established the formulas."* ''[[Film/{{Solaris1972}} Solaris]]''. "Oh, so the aliens make clones of dead people and the guy decides to live in a [[LotusEaterMachine flawed fantasy world]]? What's the big deal?"* ''Film/StarTrekTheMotionPicture'': The scene when Kirk and Scotty fly around the updated Enterprise is among the most widely-mocked scenes [[LeaveTheCameraRunning for lasting so long]], but it was a huge deal for Trekkies at the time, who were seeing it up-close and in live-action for the first time since TOS's cancellation in 1969.* ''Franchise/StarWars'' both exhibits and inverts this:** After having seen LukeIAmYourFather parodied a million times (which are, more often than not, more or less equal amount of [[DarthVaderClone Darth Vader clones]]) in the [[Franchise/StarWarsExpandedUniverse Expanded Universe]] (which has been officially declared defunct by new ''Star Wars'' owner Disney, perhaps in part because of this trope), and after getting to see villains like Exar Kun or [[VideoGame/KnightsOfTheOldRepublic Darth Revan]], and particularly after the three-plus decades of pulp sci-fi blockbusters that the film (directly or indirectly) inspired, coupled with the largely polarizing response to the prequel trilogy, how many younger people are still able to watch the original movies completely seriously and see Darth Vader as an awesome villain?*** With the prequels and the animated [[WesternAnimation/StarWarsTheCloneWars Clone Wars]] series, kids now see him as a TragicVillain, which is ultimately what Lucas wanted.** [[InvertedTrope In the other direction]], the original trilogy in particular had this effect on many of the older SpaceOpera tales that inspired them, such as ''Film/FlashGordon'' and ''ComicStrip/BuckRogers''. It didn't help that both of those series were revived (the former as a movie, the latter as a [=TV=] series) to [[Main/FollowTheLeader cash in]] on the post-''Star Wars'' sci-fi craze.** At the time, it was so controversial that the first Star Wars film, ''Film/ANewHope'', didn't have opening credits. The Director's Guild of America let it slide for Creator/GeorgeLucas [[ItWillNeverCatchOn only because they thought it would tank in the box office]]. [[AndYouThoughtItWouldFail It obviously didn't]], but despite this, when Lucas did it again for ''Film/TheEmpireStrikesBack'', he got a huge fine from the DGA, which he paid before he quit the guild altogether. Today, many filmmakers forgo traditional opening credits or even opening titles that now, it looks as though [[DisproportionateRetribution the DGA overreacted]]. **With some female fans complaining about the use of TheSmurfettePrinciple in the series, many forget that having a woman like Leia being just as heroic as the male heroes was a groundbreaking move in the first place.* ''Film/SupermanTheMovie'' was the first superhero blockbuster and its sequel, ''Film/SupermanII'' set the template for a superhero sequel. And yet, not only is it likely that younger audiences might find them boring, but many fans of the modern comics and animations blame the films -- which create "the Donnerverse" -- for the entirety of Superman's {{hatedom}}.* It also wasn't too long ago that ''Film/SpiderMan2'' was seen as the benchmark for what Superhero movies should try to achieve; mixing the fantasy/campiness of the comics with realism. Much like ''Superman'' before it. With the release of even more realistic and serious superhero movies (such as ''Film/IronMan'', ''Film/TheDarkKnightSaga'', and ''Film/CaptainAmericaTheWinterSoldier''), or less realistic but with ''huge'' action set pieces and witty dialogue like ''Film/TheAvengers2012'' and ''Film/GuardiansOfTheGalaxy'', the Sam Raimi trilogy isn't as special.* {{Documentary}} ''Film/TheThinBlueLine'' was one of the first documentaries to actually dare to produce reenactments in order to provide greater information about events, not to include narration, and not to identify people speaking on camera. While revolutionary in its time (and, more importantly, its effect of having the case reviewed and eventually overturned) even the most basic of television non-fiction programs have since adopted many of its techniques making it seem trifling to some modern audiences. An acknowledged groundbreaking classic of the genre is now made to seem almost amateurish.* The twist in Orson Welles' ''Film/TheThirdMan'' has been done so many times that it's impossible for a remotely film-savvy person to watch it today and not see it coming from very early on, which is a shame because it's nonetheless a well conceived and sharply written film. In these days when writers feel the need to constantly pull the rug out from under the viewers, such a twist is usually just one part of a [[GambitPileUp Gambit Pile-Up]].* ''Film/TheToweringInferno'': This was the first film to be a co-production by two major movie studios (Creator/TwentiethCenturyFox and Creator/WarnerBros), who have been bitter rivals for decades, and it was considered a risky venture. But when the film became a hit, both studios were handsomely given big payloads from the profits, and studio collaborations are quite commonplace today as the cost of making movies gets ever higher.* ''Film/{{Tron}}'' introduced the concept of cyberspace (a virtual world) to most audience members for the first time, something that subsequently became entirely routine, such that by the time of ''Film/TheMatrix'' (1999), it only needed to be explained THAT Neo was inside a virtual world, not what a virtual world was. Tron's use of computer-generated graphics was revolutionary, and served as midwife to the modern visual effects industry. The film even helped popularize the word "user" for a computer operator. (There was no consensus of terminology at the time; the word "computerist" was another popular term.)* ''Film/TwoThousandOneASpaceOdyssey'': Similar to ''Film/{{Jaws}}'' the [[CrowningMusicOfAwesome so awesome]], but now sadly [[StandardSnippet so clichéd]] uses of "''Music/AlsoSprachZarathustra''".** One would be hard-pressed to find a scene from ''any'' Creator/StanleyKubrick film that hasn't been parodied/homaged to death.** The famous "Star Gate" sequence, in which brilliant colors flash past the screen as the main character travels deep into space, required some extremely tricky cinematography and caused jaws to drop when the film was released in 1968. Thanks to the incredible advances in special effects since then, modern audiences often find the scene rather ''boring'' (not helped by the fact that the sequence goes on for something like ten minutes).** At the time, actual space travel was such a new concept to everyone, and the breadth and danger of space was suspenseful all its own. After so many space movies in popular culture have completely evaporated this sense of wonder, many of the spacewalk scenes are downright tedious and boring to watch.* ''Film/WarGames''. More than half the world's hacker films are sons of this one. Yet, some of those who see it now thinks "another hacker-boy-saving-the-world movie". No, he was '''the''' hacker boy who saved the world. ([[UnbuiltTrope After nearly precipitating its destruction]]. Way to save on major characters.) It doesn't help that much of what gave ''Film/WarGames'' its punch [[TheGreatPoliticsMessUp is fading from collective memory]]. Having a plucky young hacker almost precipitate WorldWarIII was an allegory on how nonsensical the UsefulNotes/ColdWar was to the average person.* The first two ''Film/XMen'' movies have largely been overshadowed in recent years by more bombastic fair like ''Film/TheAvengers2012'', but at the time, the [[Film/XMen1 first movie]] was a surprise hit that proved vital in convincing Hollywood that {{superhero}}es could be viable again after ''Film/BatmanAndRobin'' had [[GenreKiller killed the genre several years earlier]]. People tend to forget that alongside ''Film/{{Blade}}'', the original ''X-Men'' movies were massively influential in terms of tone and costuming, arguably becoming the TropeCodifier for MovieSuperheroesWearBlack. The first film also broke new ground in many ways that are commonplace in the genre today:** It first paved the way for a film like ''The Avengers'' to exist to begin with; before this movie, superhero films were either solo-driven or featured a main superhero with sidekicks. This film established the template of a true team dynamic; while there was a character that broke out from the pack like Wolverine here or Tony Stark in ''Avengers'', the group core was never lost and action sequences required the heroes to use their distinct powers in tandem, which was unheard of in a superhero film to that point. ** Also, up till then, superhero films tended to be star-driven vehicles in order to avoid a perceived comic-book ghetto; you needed a $20-million headliner like Jack Nicholson, Val Kilmer, or Wesley Snipes to pull in a mass audience, and ones that didn't like ''Film/{{The Phantom|1996}}'' and ''Film/TheRocketeer'' got destroyed at the box office. Here, the two biggest under-50 names were Halle Berry and Anna Paquin, both supporting characters (and both ''women''!) and two of the three central leads were played by aged Shakespearean actors, while the other was an American unknown in Hugh Jackman. Nowadays, especially in TheNewTens movie landscape where star vehicles have given way to ensemble pieces driven by premise and spectacle, superhero films have no qualms about casting [[Film/{{Thor}} unknown actors]] or [[Film/GuardiansOfTheGalaxy ones who had never headlined before]], knowing that the license will do the selling and the movies will propel the actors to further heights instead of the other way around.** And on the topic of female superheroes, here was a movie that not just featured multiple female heroes, but a movie where the female characters were not eye candy there for the designated girl fight. Storm, Rogue, Jean Grey, and Mystique, along with Lady Deathstrike in the sequel, were treated as equals in terms of deadly mutant skills, no overt sex appeal was on display aside from Mystique's appearance, and only fought male counterparts with no attention being called to it. Now, female superheroes in movies being treated as hero-driven without the usual female trappings (like relationships) are seen across multiple brands, although X-Men is still seen as a shining example of avoiding TheSmurfettePrinciple, something Marvel Studios [[Film/TheAvengers2012 still comes under fire for.]]* ''Film/{{Zombi 2}}'', after thirty years of zombie movies about scientists looking for the source of the zombie outbreak (and possibly [[FindTheCure a cure]]), people holed up in buildings with an assortment of guns and melee weapons, and {{Downer Ending}}s, can come off as derivative of every zombie movie ever made... even though this film, together with ''Film/DawnOfTheDead'' (which ''Zombi 2'' was an [[SpiritualSuccessor unofficial sequel]] to) helped [[TropeCodifier codify]] all of the tropes listed above. On the other hand, the [[SugarWiki/VisualEffectsOfAwesome gore effects]] still hold up after all this time (the film wasn't released uncut [[VideoNasties in Britain]] until 2005).* The ''Franchise/{{Rambo}}'' movies seem almost cliched by this point, having seen all the action movies inspired by them.** The second film did copy an already common cliche. Gene Hackman had made ''Film/UncommonValor'', which saw release in 1983, two years before ''Film/RamboFirstBloodPartII''. (This film in turn resembles J.C. Pollock's novel Mission: MIA and a point in The Shadow Unmasks). Tom Laughlin introduced Vietnam Veteran Billy Jack in the late 1960's. Don Pendleton introduced Mack Bolan in 1969.** The irony of the sequels is that they were made in response to the shift in the way that action movies were made in the 80's. ''Film/FirstBlood'' was nothing like them, and in fact is more of a thriller than an out-and-out action movie. The creators of ''Film/RamboFirstBloodPartII'' and ''Film/RamboIII'' found themselves competing with films like ''Film/{{Commando}}'' and ''Film/{{Predator}}'' and tailored their movies according to audience expectations. It can be odd to see Rambo as a trauma-wracked veteran on the run from an unjust pursuit, rather than the WeDoTheImpossible OneManArmy he became in later movies.* The scene in ''Film/TheWizardOfOz'' where Dorothy opened the front door of her house to the Land Of Oz, which brought the film from a sepia tone to color for most of the rest of the movie, was radical for its time in 1939. Although the color comes out crude by today's standards, the fact that it was there ''at all'' was quite an achievement for the late [[TheThirties '30's]]. Remember that only a decade before, movies started to be released [[TheJazzSinger with sound]].** Also, some of the effects and makeup used in the film were complex and realistic for its time, but can be [[SpecialEffectsFailure laughable]] by the standards of what could be achieved even in TheSeventies. Some effects such as the tornado still do hold up today, though.* Creator/BruceLee's martial arts movies. Today, his fights against opponents who [[MookChivalry attack one at a time]] can look hokey and cliche until you remember that at the time, he was pioneering not only the tropes of the genre, but the genre itself. ''Film/EnterTheDragon'' was ''Film/TheMatrix'' of its day.* ''Film/InTheHeatOfTheNight'' comes off like a ClicheStorm these days: BuddyCops, [[DiscOneFinalBoss Decoy Antagonist]], VitriolicBestBuds in the DeepSouth. At the time, not only were all of these unique concepts, the storyline was contemporary, yet included such unbelievably edgy moments as a black man slapping a white man.* ''Film/BreakfastAtTiffanys'', one of the earliest "chick flicks," now appears passé compared to its numerous successors.* Many of the original UniversalHorror movies, particularly ''Film/{{Dracula 1931}}'', with its {{Melodrama}}tic style filled with SilentMovie conventions (despite being a talkie).* Early rock 'n' roll movies like ''Film/BlackboardJungle'' and ''Film/RockAroundTheClock''. In the 1950s these movies actually were banned in some places because teenagers ''rioted'' during the scenes when their favorite songs where playing. Many came and went to see them several times in a row, making them instant cult pictures for the youth. Modern viewers will probably find these pictures extremely lame and tame according to today's standards. A lot of it are just very family friendly stories about almost nerdy teenagers having fun at parties and often end with a heavy aesop about keeping away from gangs and being respectful towards their parents, teachers and guardians! Even worse is that the actual rock music isn't featured that heavily either. Only from ''Film/AHardDaysNight'' (1964) on did rock movies actually get a higher standard and more creative involvement from the artists themselves. * The early Beatles movies, like ''Film/AHardDaysNight'' and ''Film/{{Help}}'', were very innovative in terms of cutting scenes to the beat of music, using quick cut camera work and inventive angles that perfectly matched the energy of the music. Creator/RichardLester's work has been imitated so much ever since that even twenty years later, when MTV arrived, a lot of it looks not that spectacular today. * ''Film/RebelWithoutACause''. In addition to being arguably the first true "teen movie" ever made, the film was also unique for being among the first to do away with the [[ChildrenAreInnocent utterly wholesome depictions of children and teenagers that were so prevalent in movies before then]] (the movie was, in fact, made in response to the youth counterculture movement that was bubbling at the time - which, of course, would be more fully realized in [[TheSixties the following decade]]). Creator/JamesDean's teenaged character gets caught up in a gang and takes on a life of crime to rebel against his highly conservative (but loving and supportive) parents. What's more, the film actually demanded the audience to ''sympathize'' with his character and question some of his mother's and father's parenting practices. While some of the things he does are quite shocking even today, the lack of swearing, sex, etc. certainly diminishes its impact when compared to more recent films depicting troubled teenagers. A matter not helped by the fact that the "rebellious music" he and his friends listen to is... swing and jazz music!** Certainly the (slight) suggestion that the father may be somewhat attracted to, and thus feel threatened by, his teenaged daughter was ''very'' unusual for a 1950s movie. * Most of Creator/MNightShyamalan's early movies count as this, in some way or another. Before his reputation as a director took a nosedive, and before a whole generation of moviegoers got their kicks by pointing out the logical flaws in his famous {{Mandatory Twist Ending}}s, his movies actually did get a lot of well-deserved praise for their unconventional retellings of popular Hollywood stock plots. And before everyone knew to expect them, the {{Twist Ending}}s in his movies were half of what made them popular.** ''Film/TheSixthSense'': A supernatural horror movie that successfully masquerades as a psychological thriller for the first half, ends with a genuinely shocking TwistEnding that no one had any reason to expect, and manages to turn a ghost story into a heartwarming tale of an IntergenerationalFriendship. When it came out, that was notable. But when the twist became [[AllThereIsToKnowAboutTheCryingGame the most well-known thing about it]], many people forgot that its story actually had many other merits.** ''Film/{{Unbreakable}}'': A superhero movie that successfully hides the fact that it's about superheroes for most of its running time, makes real-world superheroes seem plausible (doing it well before the 2000s superhero movie craze started, no less), manages to turn a superhero's origin story into an understated family drama about ignored potential, and ends with ''another'' genuinely shocking TwistEnding that no one had any reason to expect. Since 2000, though, superhero movies have become such a regular attraction at the box office that many people forget what an unconventional portrayal of superheroes ''Unbreakable'' was.** ''Film/{{Signs}}'': An AlienInvasion movie that takes place almost entirely on a remote farm, manages to keep its aliens [[NothingIsScarier almost entirely unseen]], and successfully juggles family drama and religious dilemmas with the possible extermination of humanity. For all its flaws, it truly ''was'' unlike any other sci-fi film that audiences in 2003 had ever seen. And before its many plot holes were widely spread by word of mouth, its unconventional take on the AlienInvasion was the most well-known thing about it.* A lot of slapstick comedy from the first half of the 20th century like Creator/CharlieChaplin, Film/TheKeystoneKops, Creator/HaroldLLoyd,... Back then it floored many audiences across the world with laughter. Today most of the gags, comedic archetypes and situations have been used by later comedians. As a result many of these slapstick comedies now look dated, old-fashioned, bland and corny by comparison, not to say unfunny. Chaplin in particular is admired more for his skill and talent as a mime and a director than filling movie theaters with crowds of fans roaring with laughter. It says a lot that the most iconic and recognizable comedian of all time isn't considered to be ''that'' hilarious anymore. * Back in the mid 90s throughout the late 2000s, Creator/AdamSandler while not as big as Creator/JimCarrey or Creator/EddieMurphy had a relatively huge fanbase that would recite lines from ''Film/HappyGilmore'' and ''Film/BillyMadison'' on a regular day-to-day basis and mostly performed huge numbers at the box office. With the recent surge of Sandler following the same formula for almost more than a decade, many people question as to why Sandler's had the success he's had in the first place and are now seen as some of the lowest form of comedy in Hollywood. * Creator/RayHarryhausen, Willis O'Brien and stop-motion animators in general. Nowadays their work looks jerky, silly and anything but frightening to modern audiences so used to watching CGI getting far more realistic animation across. But the thing of the matter is: all this animation was done by hand, overcoming problems such as continuity errors, shadowing, moving different body parts and perspective shots. If it weren't for these pioneering techniques special effect makers today would be nowhere. And there is still a charm to their craft that CGI can never surpass.* ''Film/TheUsualSuspects'' is seen by many as one of, if not the greatest PlotTwist film of all time. And is credited for starting the trend of many plot twist films after its success. The fact that almost scene in the film [[spoiler: turned out to be a lie told by a UnreliableNarrator wasn't commonly used back then.]] Keyser Soze became an iconic villain over the years after the film's release. However, for many people whom seen the film for the first time, knowing what to expect, claim they don't see what the big deal is, and claim they could guess [[spoiler: KevinSpacey]] was Keyser Soze after just five minutes watching the film. Keep in mind this actor wasn't as well known at the time of the film and neither was his track record of playing clever villian roles. * Film/{{Metropolis}} was one of the most expensive movies of its time and ''bankrupted'' [=UfA=]. It was seen as groundbreaking in its aesthetics and special effects for ''decades'' even though it tanked at the box office. Its reputation was enough almost a century later to make the re-release of an almost complete version global news, yet if you view the film with a critical modern eye it becomes SoOkayItsAverage.* For some LongRunners, earlier episodes within the same franchise can be this. Many of the early Series/{{Tatort}}s are rather tame and boring compared to the newer ones. A crime in and of itself was exciting enough without any need to further dramatize it in the 1970s. In the 2010s, just a normal run of the mill murder whodunnit would not get anything but yawns. There has to be some banter between the inspectors, some deeper sociocultural implications or at the very least some [[PrecisionFStrike Scheiße]] to make people watch. On the other hand, some people find the newer episodes over the top and prefer the more subdued storytelling of some of the older ones, which did not pretend to be anything but run of the mill murder whodunnit.----


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My check engine light came on several months ago; now the car seems to not accelerate especially past 45mph. I appears to jerk as if it's changing gears. I've kept it maintained, oil changes, tire rotations, brake jobs, etc. What could possibly be wrong? thanks for your help
by dee12345 in Mascoutah, IL on September 29, 2010

subset: commoncrawl


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An important part of our mission is to promote the educational advancement of Italian American women. We are committed to helping young women succeed through our scholarship grants.
Our scholarship recipients have diverse interests and are working toward degrees in a wide range of fields. All are highly qualified Italian American women in need of additional support to pursue the education of their choice.
We give preferential consideration to applicants who have demonstrated excellence in fields of study of
Italian language and/or culture.
Our 2016 Scholarship program is now open. The deadline is February 15, 2016.
Donna deMatteo,
Scholarship Chair
To see our Scholarship Criteria and download an application, click here.


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Dear Brothers and Sisters in Christ,
Thank you for visiting our parish website. As you browse our pages, you will find that the parishioners at St. Clare have a servant's heart, especially for those in need. We are also blessed at St. Clare to have a growing Spanish speaking community. Indeed, the word Catholic means "Universal," and the universality of the Catholic Church is beautifully displayed here at St. Clare.
Of course, all of us are in need of the transformative love of Jesus Christ, that is made manifest every time we gather together to be nourished by the Word of God and by the Body and Blood of Jesus Christ, truly present in the Eucharist, that we receive at Mass. If you are looking for a parish, or have fallen away from the practice of the faith, we invite you to join us in our shared journey of faith, as disciples of Christ.
Fr. Jesse L. Bolger
Annual Parish Carnival!
RAIN (hall) or SHINE
Thursday - 6-10pm
Friday 6-11pm
Saturday- 5-11pm


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Coming of Age
Fall 2015
This year, eighth graders will participate with sixth and seventh graders in the first two units of UU curriculum Amazing Grace: Exploring Right and Wrong by Richard S. Kimball. This program guides sixth graders through ways to determine right from wrong with a Unitarian Universalist perspective, and act on their new understandings. Unit 1 explores faith as it relates to virtue and sin and Unit 2 explores Unitarian Universalism and its ideas about virtue and sin. Amazing Grace begins September 27 and Unit 2 wraps up on January 10.
winter and spring 2016
Coming of Age (COA) is a rite of passage that acknowledges the transition from child to youth. It is preceded by a thoughtful reflection of each person's beliefs given their experiences of spirituality and religion. This is a period of integrating and articulating all that the Coming of Agers have learned to this point about their UU identity.
One of the highlights of this year is the Vision Quest, a nature retreat. Time in nature provides our COA youth the opportunity to strengthen bonds with one another as well as sit in silence and reflect about their lives, their talents and who they are becoming.
The COA year culminates with a special worship ceremony for youth and their families, where their belief/credo and gratitude statements are shared. They also present their personal statements to the full congregation during a Sunday service.
Summer 2016
This group is encouraged to attend adult services, June through August. They are also welcome to participate in or volunteer for the Children's Religious Education Summer Program. The Coming of Age program will resume Fall 2016 with Our Whole Lives: Sexuality Education (OWL).
OWL helps participants make informed and responsible decisions about their sexual health and behavior. It equips participants with accurate, age-appropriate information in six subject areas: human development, relationships, personal skills, sexual behavior, sexual health, and society and culture. Grounded in a holistic view of sexuality, Our Whole Lives not only provides facts about anatomy and human development, but also helps participants clarify their values, build interpersonal skills, and understand the spiritual, emotional, and social aspects of sexuality.


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- Home
- About us
- About learning disability
- About learning disability
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- Friendships and relationships
- Accessing services
- Money, benefits and assessments
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- Information for parents, carers and the family
- Information for professionals
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We found out about statementing when the social worker from the Children with Disabilities Team talked us through the process and produced the paperwork. We discussed the specialisms of various schools and where they thought our daughter would get the best support in the right environment. We were also told about occupational therapy, and wheelchair and speech and language services.
The local authority had given us a list of special schools which we then visited and made a decision on. We informed them which one we thought was best for our daughter and they arranged it. At this stage we worked mainly with the social worker, the nursery nurse and the head teacher from our chosen school - who is now a personal friend. We didn't get any information about the parent partnership service, but we were quite happy with the whole process and how it worked out for us. The teachers we dealt with were all very supportive.
Through the school we found it easy to make contact with other parents in a similar situation to our own, through informal chats and get togethers. In leisure terms, the school runs some after schools clubs and acts as a venue for voluntary sector activities. Our daughter also has access to specialist play services, and we were recommended the Play and Resource Centre and the Chelmsford Mencap Daybreak Scheme by other parents.
Through the school we found it easy to make contact with other parents in a similar situation to our own, through informal chats and get togethers.
During the holidays we employ a personal assistant, and our daughter goes to PARC and Daybreak. Although the time we have to spend with the rest of the family is never enough, using direct payments and employing our own help does make it easier. The level of support we provide means my wife and I have little time and energy for anything else, and we often feel like we are leading separate lives. We tend to turn to our friends for support.
We found out about person centred planning through the Partners In Policymaking course. We plan for our daughter's future as a family, with input from her school and personal assistants. This really works for us, so my advice for other parents would be don't panic - start making plans for every stage of your child's life and keep these plans up to date. Fight for everything your child needs and deserves.
The level of support I provide for my daughter hasn't affected my relationship with her - she is the most important person in my life. My only hope for the future is that she will be happy and that the family will survive.
Key words
Direct payments: in some cases, individuals may be able to receive support for their local council as cash, allowing them to choose the services they want for themselves.
Person centred planning: an approach that involves listening to what someone wants from life and helping them to achieve it.
I am a single mother of 4 children, 2 which have a Diagnosis of A.S.D, 1 of Dyslexia and my youngest child of 13 years old is being assessed at the minute for A.S.D, as she was also assessed in CAMHS a few weeks ago for a learning disability because of ongoing behaviour problems since as young as 5 years old. though this Assessement was unsuccesful in getting a result because of her scores being in-accurate, although I was told she has a weakness in verbal and Non-verbal Communications and comprehensions. And she fell extremley low with Adaptive skills in daily living, in which she will require Significant Support to do anything independently. Since my daughter started secondary school 2 years ago I made a point of going to see the Principle and making them aware of my child`s difficulties with homework and her understanding of things as she was finding it very hard each day at her new school, I requested a statement be done to assess my child, in which they agreed. And I was happy that finally after all those years of fighting with the other schools now somebody was listening to me. but now 2 years on my daughter has still not been Statemented for her educational needs, as I received a phone call last week to say after receiving the document I was given following the assessment done in CAMHS, for a learning disabilty. it was a closed door for my child to have a statement and they have refused to do it as her scores were not that low. I feel I am now up against a brick wall and don`t know what to do next. Should I just let now and see how she gets on from here on in, or should i proceed further!
I hve been battling my eldest sons behaviour since he started nursery school in 2007..
I have been involved with many different services surrounding his behaviour.
My eldest finally got a statement of educational needs in April this year after beig out of school for 7 months as the school he was in refused to keep him. He has been registered with the child mental health team CAMHS for nearly 18 months and still waiting for an ADHD assessment..
He has regular night terrors, these have been going on for 4 years. His behaviour affects me and his two younger brothers on a daily basis. I have even had police and threat of ASBO because his behaviour is that bad.
My middle son, who is 19 months younger than my eldest has started to drop below average academically due to being woke in the night and the stress and pressure the family is under in keeping our eldest safe!
I have been to the doctors an uncountable time and no1 seems to be able to help me.. Things are not moving and feel I am stood at a brick wall. I have to deal with this daily alongside 2 other children aged 7 and 2 and also I attend college full time just to have a break. Does anybody have any information on where I could get more advice or help?
im a single mum of 2 great kids my eldest kimberley now 13 has special needs, her special needs school as been a godsend she attended greenwood which then emerged into springwood special needs primary school then when she came too high school age she transfered to oakwood high school where she has improved immensley and now starting in september she starts main stream high school i love my kids too bits and wouldnt change them for the world
Having read your comments,it brings back the memories for me,I am a mother of five, two of which have special needs,all of my children are now grown adults so I understand the needs over the age spectrum. At the beginning you walk the maze of where to go who to see, what is available, but all the while the future haunts you,as here you have this special child that needs you so much,relying solely on your actions on their behalf.
As no one will love and feel the same for them as you do,you are mum and dad. You have to plan there futures,not only in centre planning but for when you are not here,that is the most frightening thoughts we all have. Setting up trust funds for their future well being and stability and care, it is a vital provision and Mencap can help you with this. I have to relate to you,and hopefully get your feed back on a project I am working on. I need to get your views on Inclusion,as you know all children learn the most from birth to five years old (Preschool) it has been my experience not once but twice that our SEN children achieve more through interaction with able bodied children,they push themselves forward in so many areas of learning,physically and mentally my dream is to create the future for our children at the most crucial time THE BEGINNING, it is their basic human rights to EQUALITY I want to create HUBS for Inclusion that will encompass not only an Inclusion Nursery but also a respite home,a teaching home for parents that need to learn how to tend with their children's individual needs medically, an outreach team, and advise centre all on one site all under one umbrella a one stop shop if you like!!
Easy accessibility for parents and professionals one base too and from.I am having a certain amount of impact in Portsmouth in realizing Nursery Inclusion provision,as we in Portsmouth tended to rely on one main Inclusion Nursery! I have worked towards this goal with the passion that is instilled within us the parents of special needs! And the children's services have now admitted they were wrong in not providing enough in this area,and are now putting into action implementation, the plans for all Nurseries to be able to adapt for the use of our disabled children.
I know I should be over the moon,but it still is not the future I envisage for our children and their families. For the cost intended within my community to upgrade existing facilities, a HUB could be built as a "Flagship" to invite ministers to view and realize the start of "Targeted Funding" of many HUBS in the future. Every large community would have one! Let me hear your thoughts on this please. All Good Wishes Ava Cadman x


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Vt. selectman's widow sues hospital over deathMarch 30,2013
BENNINGTON - The widow of a select board member in Pownal, Vt., has sued a hospital, accusing it of causing her husband's death in 2011.
The complaint was filed in Bennington Superior Court by Jean Prouty. It says Donald Prouty Jr. suffered a fall at Southwestern Vermont Medical Center that caused complications leading to his death.
The Bennington Banner reports (http://bit.ly/X0xKfZ) Prouty, who had Hepatitis C, went to the hospital complaining of head and neck pain from recent falls.
Hospital staff determined the 56-year-old Prouty was at a high risk of falling and ordered a bed alarm and "personal sitters."
The lawsuit says no one was in his room and the alarm was deactivated when he fell. He fractured his pelvis and suffered internal bleeding.
A hospital lawyer denies the allegations.
Information from: Bennington Banner, http://www.benningtonbanner.comMORE IN This Just InWATERBURY CENTER The Harwood golf team closed out the regular season Wednesday on its home... Full StoryCOLCHESTER Green Mountain Valley School standout Ellie Urdang scored with nine seconds left in... Full Story
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Noncoherent Dual Platform Advanced Monopulse Countermeasures (AMCs) Standoff Jammer
Award Information
Small Business Information
828 Fort Street Mall Suite 600, Honolulu, HI, 96813
Principal Investigator:
Ryan Miyamoto
Senior RF Research Engineer
(808) 531-3017
Senior RF Research Engineer
(808) 531-3017
Business Contact:
Jan Sullivan
Executive Vice President
(808) 531-3017
Executive Vice President
(808) 531-3017
Research Institution:
AbstractThe cross-eye jamming technique based on DRFM can be extended to a dual platform system by using the collaborative network theory. Each airplane is equipped with Oceanit's patented optical sensor, which is capable of measuring the angle between the other airplane and the missile. Therefore, the complete triangle made by the airplanes and missile can be uniquely determined once the distance between the airplanes is found using a RF signal. The distance between the missile and each airplane can be easily calculated once the triangle is defined, thus enabling cross-eye jamming using two noncoherent jammers. The proposed system should greatly reduce missile threat to military airplanes.
* information listed above is at the time of submission.
An Official Website of the United States Government


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Two of my favorite indulgences — good beer and good movies — could finally be united like long-lost lovers.
Two of my favorite indulgences — good beer and good movies — could finally be united like long-lost lovers.
On Thursday, the House Government Accountability and Oversight committee is scheduled to hear a proposal to ease up on alcohol sale restrictions at cinemas. Currently, cinemas can get permits to sell drinks, but if the movie house lets in minors, the drinking must be done in well-lighted places, i.e. the lobby, which totally defeats the purpose of having a tasty Snow Cap as the film rolls.
HB 1001 thins the Liquor Control Board rules by allowing cinemas to simply describe how they would limit alcohol sales to minors. An argument can be made that teens could get an adult to slip them a beer in the dark, but in my experience, a kid bent on drinking in the dark will do so in or out of a theater.
Let adults be adults, and hopefully at next Seattle International Film Fest, I'll give a toast to Washington's craft brewers while watching another great work by Seattle's Lynn Shelton.
- Students seeking sugar daddies for tuition, rent
- Seattle-based seafood company shuts down
- UW receiver Isaiah Renfro opens up about depression, announces he's leaving team
- What's the top spelling 'mistake' in Washington state? The answer could make you sick
- Dead whale found on bow of cruise ship in Alaska


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Train To Teach
International TEFL Institute - Offering Globally Recognised TEFL Training
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Thread: Went tonight
Went tonight
Decided with the cooler temps id give it a try for the first time in a while. Made 3 trees pretty quick, Saw the coon in the first, Couldnt find the coon in the second, may have been there who knows with the leaves. I called it slick, 3rd tree had the coon peaking out of a den. Loaded up and came home. I was pretty happy with it since its been over 2 months since ive hunted my dog. Anyone else been?Me: How the heck did that duck get out of here alive? BigSkinny: The same way he came in here, Flying.
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BKE Pieced Cardigan Sweater
Sorry, this product is currently not available on buckle.com.
- Checkered inset button front cardigan sweater
- Body length 27" on size medium
- 55% Cotton, 45% Rayon.
- Hand wash or machine wash on delicate cycle. Lay flat to dry.
- Made in China.
Have a Question?
- Body length 27" on size medium.