By this point in time, there are thousands of films in existence for audiences to relish in. Some of these films remain timeless classics due to their exquisite plots, incredible performances, and universally palatable themes. There are also films that, while critically acclaimed during their initial release, are no longer fan-favorites for various reasons. Here are twenty movies that were once considered masterpieces, but no longer hold up.
Breakfast at Tiffany’s (1961)
Audrey Hepburn can do no wrong, andBreakfast at Tiffany’sis a testament to that. Her most iconic role to date, Hepburn’s Holly Golightly goes through life seemingly carefree as she sports Givenchy attire and dates older men to sustain her socialite lifestyle. In reality, Holly is filled with existential dread about where she belongs in life, which catches the interest of her new upstairs neighbor, Paul Varjak.
While Paul and Holly’s romance is chaotic through and through, it isn’t the most problematic aspect of the film.Breakfast at Tiffany’sperpetuates a racist characterization through Mickey Rooney’s Mr. Yunioshi makeup, exaggerated accent, and the character’s overall personality makeBreakfast at Tiffany’san offensive film.
Gone with the Wind (1939)
Arguably one of the most complicated, and unhealthy relationships depicted in cinema,Gone with the Windteaches incredibly flawed lessons about romance. Scarlett humiliates and mistreats every man she’s surrounded by, Rhett included; Rhett, in turn, physically and emotionally belittles Scarlett, and their entire relationship revolves around them trying to outdo each other in their general mistreatment–then there’s the unforgivable sexual assault scene between both characters. Rhett walking out on Scarlett was a move long overdue by the film’s finale.
My Fair Lady (1964)
Another Audrey Hepburn film on the list,My Fair Ladyhas Rex Harrison and Audrey Hepburn bringing Alan Jay Lerner’s stage musical to life for the big screen. The plot revolves around phonetics Professor Henry Higgins taking in Eliza Doolittle, a flower girl with a strong Cockney accent, and teaching her how to speak proper English in hopes of passing her off as a Duchess among high society.
Using Eliza as his social guinea pig isn’t the worst of Higgins' offenses, though; it’s his constant humiliation towards Eliza, from insulting her, and threatening her, to treating her less than simply because she speaks and acts a certain way. To see Eliza return to the classist Higgins by the end of the film is preposterous, even if his teachings did improve her quality of life in the long run.
A Streetcar Named Desire (1951)
This Tennessee Williams film adaptation has, well, aged like milk. While Marlon Brando and Vivien Leigh give their respective roles every bit of their raw acting talent,A Streetcar Named Desireis a difficult watch nowadays, simply because its two leads are morally reprehensible characters. Blanche is a compulsive liar, a social climber, and proves to be an added burden to Stella’s already complicated life. Stanley is an abusive misogynist who, by the end of the film, becomes a sexual predator. There is no character worth rooting for inA Streetcar Named Desire.
Forrest Gump (1994)
There is no doubt thatTom Hanks gave this role his alland deserved the Academy Award for Best Actor. What makesForrest Gumpgo down asa reprehensible film is its depiction of women. Almost every woman inForrest Gumpis a victim of circumstance in the worst of ways; Mrs. Gump is forced to sexualize herself to give Forrest a better chance at excelling in school. Jenny is abused and objectified throughout the entire film, vilified simply for surviving as best she can, and then dies tragically by the end of the film. What was once considered a feel-good odyssey film about Forrest Gump is now a poor depiction of female characters in cinema.
Psycho (1960)
Suspenseful and disturbing,Alfred Hitchcock’sPsychois one ofthe best horror films ever produced, ahead of its time by defying the Hays Code through its treatment of Marion Crane. Nevertheless,Psychoalso vilifies Marion for being a sexual being, for making mistakes, for being human; her punishment? Death. Norman Bates himself is a queer-coded character who, much like Marion, is vilified for his state of being.
Sixteen Candles (1984)
This John Hughes movie should not be directed toward younger audiences (or any audience) at all.Sixteen Candlescontains sexual assault, misogyny, with its protagonist, Samantha, being objectified and demeaned by just about every male character in the movie. Samantha didn’t need to pick between love interests Jake and Ted; she needed a fresh start away from such morally-flawed people.Sixteen Candlesis a cautionary tale for the foundations of abusive relationships and obsessive individuals. Not even Molly Ringwald’s charismatic performance can makeSixteen Candleshold up nowadays.
White Chicks
People laughed during its time of release, butWhite Chickshas not stood the test of time at all. Marlon and Shawn Wayans are comedic geniuses, and while their characterizations brought audiences to tears of laughter during the film’s original release, modern audiences view their characterizations as offensive, perpetuating the worst of stereotypes about race. Nonetheless, every actor in the movie gives flawless performances, notably Jennifer Carpenter as the bubbly and insecure Lisa, who proves a scene-stealer every time she was on screen.
The Wizard of Oz (1939)
The Wizard of Ozin and of itself isn’t a problematic film. If anything, it teaches important lessons about transparency, self-identity, and friendship; it’s the behind-the-scenes details that make the film less and less palatable through the years. From the injuries, and general disregard for the safety of performers, to the grueling details of MGM executives exploiting Judy Garland,The Wizard of Ozis a painful reminder of the abuse that hides behind the glitz and glamour of Hollywood.
Related:The Wizard of Oz: The Real Story of the Famous Production
The Parent Trap (1998)
Lindsay Lohan’s breakthrough film,The Parent Trapwas a Disney classic all across the board when it first released in the late ’90s. Lohan portrays Annie and Hallie to a tee, giving each character nuances that made audiences wonder if there were actually two different girls portraying the characters. Performances aside,The Parent Trapisn’t the fairytale it tried presenting itself as back in the ’90s, notably because of the adults in the film.
While Meredith Blake is technically the antagonist in the film, the real villains are the twins' parents, Nick and Liz. One thing is to get a divorce over irreconcilable differences; another is to separate and lie to your daughters for years about their living sibling and parent. Nick and Liz were nothing short of self-centered and narcissistic.
