Top 20 Awesome Concepts Wasted On Mediocre Movies

#20: “Passengers” (2016)

Jennifer Lawrence and Chris Pratt were a couple of the biggest stars on the planet back in 2016. And it seemed like they’d be getting an engrossing sci-fi vehicle worthy of their talents. Not so. The film opens with Pratt’s Jim erroneously awakening from his hibernation pod aboard a futuristic space vessel. Unable to put himself back under, he eventually awakens Lawrence’s Aurora out of loneliness. Forced to live out their lives on the ship, the two inevitably fall in love. While the moral quandaries presented are endlessly fascinating, “Passengers” somehow necessitates us rooting for Jim despite his unforgivable deed. By the time the movie devolves into contrived third-act plot mechanics, we’re already pretty checked out of this one.

#19: “The Village” (2004)

Despite a spotty track record, M. Night Shyamalan has proffered a series of tantalizing concepts. And of the misses, it’s “The Village” that we most wish was great. Set in an ostensible 19th-century Pennsylvania village isolated from the rest of the world, the movie does a great job at establishing an ethos and lore. Early on, we’re informed of mysterious creatures that lurk in the surrounding woods, compelling the citizens to stay safe within their enclave. The film could go in a multitude of directions from there. However, it spends more time on overly solemn period dramatics than actual thrills. And by the time it gets to Shyamalan’s signature twist ending, it makes us more aggravated than astounded.

#18: “Sucker Punch” (2011)

Granted, Zack Snyder is better known for his directing prowess than his screenplays. But while “Sucker Punch” definitely plays into his sensibilities, it still needed a rewrite or two to pass muster. The plot of the movie - and we use the word “plot” loosely - centers on a group of women committed to an unethical mental hospital. They seek to escape, with their escapades being conveyed through over-the-top fantasy theatrics. If you went into this one looking for a blockbuster that played more like a video game, you got your money’s worth. But if you expected something that backed all that up with convincing character development and feminist themes, then you were the one who got sucker punched.

#17: “A Cure for Wellness” (2016)

Gore Verbinski is another filmmaker who we expect great things from visually. Unfortunately, this wasn’t enough to buoy “A Cure for Wellness.” Playing almost like a detective mystery, the movie follows a young executive who’s sent to retrieve his company’s CEO from a supposed wellness center in the Swiss Alps. Unsurprisingly, however, he finds there are much more sinister things going on. Despite a solid setup and a rich atmosphere, the overlong “Cure for Wellness” has more plot than payoff as it trundles along. The reveals are fairly predictable, and its almost monster movie climax feels uncomfortably out of place.

#16: “Vanishing on 7th Street” (2010)

Not all horror movies need to give explicit explanation for its frights, but they need to give us a little something to subsist on along the way. In one light, “Vanishing on 7th Street” is clever in how it uses its low budget to its advantage, as it tells a supernatural, apocalyptic tale about a living darkness that consumes anyone enveloped in it. The survivors thus have to find creative ways to keep the lights on, from which you would think a series of dynamic set pieces would practically write themselves. However, the film feels more unsure of itself the longer it goes on, becoming less engaging and exciting, its flame snuffed out far too soon.

#15: “Brightburn” (2019)

Sure, “Brightburn” does lift a lot of elements from the Superman mythos, but since it’s technically an original screenplay, we’re gonna include it here. In a small Kansas town, a couple’s prayers for a child are answered when a spacecraft carrying a baby crashes near their house. They raise the superhuman child as one of their own, but unlike Clark Kent, Brandon Breyer becomes influenced by his alien nature into doing harm. The idea of an evil Superman is a fresh one, and twisting the superhero origin into a horror movie is a fun slant. But the film can never reconcile that with the overarching story set up in the beginning. This is one that could’ve used a little extra oomph to it.

#14: “The Invention of Lying” (2009)

We tend to take everyday constructs for granted. So when a movie comes along that imagines what it would be like without them, our ears immediately perk up. “The Invention of Lying” is pretty much what it sounds like: in a world where everyone tells the truth all the time, one man looks to turn his life around after discovering the concept of lying. The idea of only one person being able to lie while everyone takes him at his word sounds like a recipe for comedy gold. Yet the movie fails to come up with many really hysterical bits. Throw in a half baked sendup on religion, and it feels more and more like they were making it up as they went along.

#13: “Event Horizon” (1997)

We recognize that this one has garnered a cult following since its release, but given the almost endless possibilities of the premise, we can’t help but feel it comes short. When a rescue team is sent to investigate the disappearance and reappearance of a spaceship, they learn that the previous crew opened a window to another dimension, unleashing an evil never before seen. With too few great horror movies set in space, “Event Horizon” had real potential to kick the door in and craft a strong identity for itself. Instead, it feels far too reliant on standard horror theatrics and perfunctory shock value. If this one had spent a little more time in the realization stage, we really could’ve had something here.

#12: “Bright” (2017)

This one started out with a bright idea. Bright execution? Not so much. Written by Max Landis, the movie introduces us to a modern society whereby humans and fantasy creatures coexist. On the other end of the genre mashup is a police procedural about a human-orc partnership. “Training Day” meets “Lord of the Rings” really could’ve been something different, especially since the writer of the former, David Ayer, directed this one. However, the movie loses itself in sloppy character development and some really cringey dialogue. It also seems like it wants to be reflective of our own society, but even that aspect feels forced and ineffective.

#11: “Daybreakers” (2009)

We’ve probably seen one too many vampire movies that are content simply replaying the greatest hits. So color us intrigued when “Daybreakers” promised to flip the mythos on its head. Instead of bloodsuckers lurking in the shadows, this one imagines a world whereby vampires have completely usurped society in their image, hunting the last of us for food. Where the movie succeeds in fleshing out the world with creative details and differences, it largely fails in telling a compelling story with unique characters. To that end, much of the acting and dialogue feels hokey, almost like they belong in a satire of itself. By the time it wants to peak emotionally, we’re already feeling coldblooded to this one.

#10: “Downsizing” (2017)

Alexander Payne has always been a writer and director with a real hold on character work and dialogue. So when we heard “Downsizing” had an insanely timely and creative sci-fi premise, our expectations went through the roof. Set in the near future, this one opens with scientists solving overpopulation by shrinking people down significantly, thus reducing their carbon footprints and allowing them to live lavish lifestyles to boot. Rather than explore its miniature concept in its entirety, “Downsizing” takes a head-scratching left turn halfway through into an allegory for environmentalism. That’s all well and good on its own, but when it comes at the expense of the story’s entire conceit, we can’t help but feel like we got two halves of separate movies.

#9: “Morgan” (2016)

This sci-fi horror film didn’t just squander a promising concept, it also failed to capitalize on its strong cast. Kate Mara plays Lee Weathers, an expert called in to evaluate a living science experiment, an organic hybrid A.I. known as “Morgan,” played by talented up-and-comer Anya Taylor-Joy. With Rose Leslie, Michelle Yeoh, and Paul Giamatti in tow, and a basic premise that opens the doors wide open for reflections on the definition of life, personhood, and scientific ethics, it had the makings of something remarkable. Unfortunately, it does very little with all this potential, opting instead to go the route of the superficial sci-fi horror flick. Another “Ex Machina…” it sadly is not.

#8: “Law Abiding Citizen” (2009)

Somewhere out there in the multiverse, there’s a parallel dimension in which “Law Abiding Citizen” was a REALLY great film. Sadly… we’re not living in it. This film pitted Gerard Butler, playing vengeful vigilante Clyde Shelton, against Jamie Foxx’s Assistant DA Nick Rice. When Rice makes a plea deal with the man who killed Shelton’s wife and daughter, which sees the murderer get off light, Shelton takes justice into his own hands. It should be a sober reflection on grief and the justice system, but instead, it loses itself in its own self-seriousness, taking the plot into absurdly unrealistic places while failing to dig deep into the themes at the heart of the story.

#7: “Chappie” (2015)

Director Neill Blomkamp is an ideas man. “District 9,” “Elysium,” and “Chappie” - each boasts a promising premise, but taken as a whole, his filmography has been an exercise in diminishing returns. In 2015’s “Chappie,” a damaged and stolen police robot, newly implanted with an A.I. program, is raised by criminals. Even done right, it was always going to be an odd film, but while this movie has heart, it’s just too clunky to ever come close to its narrative potential. Nonprofessional actors and a willingness to take both the story and the titular Chappie to overly silly places made this potential “E.T.” for adults into a messy misfire.

#6: “The Purge” (2013)

When the first “Purge” film was released, horror enthusiasts collectively shook their heads in disbelief at the missed opportunity. The yearly purge, a twelve-hour period occurring once per year, sees the suspension of all laws, so that people can emotionally cleanse. As a concept, it was fresh, thrilling, and wildly inventive. So what did the film do after getting us all amped up with the premise? Tell a small-scale home invasion story about neighborly envy and revenge. The premise, and its many implications, was used as an excuse to tell a horror story we’ve seen countless times. Fortunately, the franchise has at least partially made up for it in subsequent installments thanks to larger budgets.

#5: “Hancock” (2008)

“K.I.S.S.” usually stands for “keep it simple, stupid,” but how about “keep it simple, screenwriters?” “Hancock” made bank at the box office because, hey, there’s no denying that Will Smith action blockbuster star power. But it could have been a far superior film, one that succeeded at the box office AND got solid reviews. A down on his luck superhero with substance use disorder and Superman-level powers, Hancock’s story is an interesting and unique one that we hadn’t seen on the big screen - with built-in themes of loneliness and the burden of responsibility. Rather than keep it intimate, however, the film vacillates wildly between comedy and drama, complicating the plot with bafflingly unnecessary twists.

#4: “Suburbicon” (2017)

Racially-charged themes require a deft hand, especially when you’re approaching your subject matter from the angle of a dark comedy. In all fairness to George Clooney, who directed the film after having co-written it with the Coen Brothers and George Heslov, one can appreciate what he was trying to do. Heck, we wouldn’t be talking about this film if it wasn’t rife with untapped potential. Somewhere underneath all the mistakes is an insightful investigation of suburban life and priorities, the illusion of the perfect family, and a powerful commentary on racial prejudice. Unfortunately, none of that actually comes through in this film.

#3: “In Time” (2011)

A compelling concept is a prerequisite to any good sci-fi film. Unfortunately, even then, a quality movie is still far from guaranteed. Director and writer Andrew Niccol has done it in the past with films like “Gattaca,” and in terms of concepts, we think he had another potential home run here. Unfortunately, it fell apart in execution. Starring Justin Timberlake and Amanda Seyfried, the film explores a world in which the time left in your life is also currency - something that can be earned, used to purchase things or… be stolen. Unfortunately, rather than dive deep into the potential commentary about capitalism, wealth inequality, and access to healthcare, it devolves into a simple futuristic Bonnie and Clyde / Robin Hood story.

#2: “Waterworld” (1995)

Be honest, don’t you kinda want to see them remake this movie? Okay, maybe not a remake per se, but at least give the premise another go. In terms of post-apocalyptic futures, one in which the polar ice caps have melted and the world is largely covered by water is a premise that hasn’t gotten nearly enough screen time. This is a fascinating concept, and one that remains largely untapped. “Waterworld” was arguably sunk long before anyone saw it due to its much-publicized nightmare of a production, but beyond that, its greatest failure is the rather boring story it chose to tell in this otherwise fascinating world.

#1: “Transcendence” (2014)

Considering the beautiful cinematography he’s done while working on the films of frequent collaborator Christopher Nolan, people were understandably excited to hear that Wally Pfister was trying his hand at directing - especially since his debut film seemed like a thematically rich sci-fi thriller, not dissimilar to “Inception.” In the film, a brilliant researcher in the field of A.I. transcends beyond the physical, uploading his consciousness to a computer, and eventually, the Internet. The plot brushes against a number of questions that feel incredibly relevant in our modern age… but fails spectacularly to say anything meaningful - instead telling a superficial story that falls painfully short of its high concept and far-reaching premise.