10 Opening Movie Scenes NOTHING Like The Rest Of The Movie

The opening scene of a movie is absolutely crucial to grab the audience’s attention and ensure they’re hooked on whatever’s to come.

Sometimes that might mean delivering a high-flying action sequence to give viewers a taste of what’s to come, introducing them to the central characters in a clever and entertaining way, or letting the audience know what’s to come. the tone and aesthetic of the movie they’re watching actually is.

But then there are movies that open with scenes that are really nothing like the rest of the movie – like, not even a bit.

This is usually done on purpose for the sake of contrast or intentionally jarring effect, although this can sometimes be the result of directors letting the tone of the material slip away from them.

Whatever the reason, these 10 films kicked off with scenes that are truly unlike anything else in the film.

In some cases it’s clearly an intentional flourish and works extremely well, while in others it’s not as compelling, and then there are those where it’s not immediately good or bad but just very , very weird…

When you sit down to watch a GI Joe movie, you expect two or three things above all else: military fetishism and men in action figure form destroying hordes of nameless goons, right?

The first of Paramount’s three failed attempts to make GI Joe a hit movie franchise was 2009’s The Rise of Cobra, which mostly focused on ridiculous sci-fi action, hammered performances, silly dialogue, and more. Pretty much what you’d expect, then.

This is, except for the film’s bizarre opening prologue, which is set in 1641 France, and depicts the ancestor of one of the film’s villains, James McCullen (Christopher Eccleston), caught selling arms to the enemies of Louis XIII and equipped with a hot iron mask as punishment.

Although a similar fate ends up befalling McCullen when he transforms into the masked villain Destro, the tone and aesthetic of the scene is completely different from the rest of the film.

Without even a hint of sci-fi, you can look at the scene in isolation and assume it’s a more “realistic” historical thriller, especially given its grittier, grittier vibe compared to what follows.

Immediately after that, we shockingly jump to “the not-too-distant future,” where the far dumber and more innocuous sci-fi schlock kicks off.

Andrea G. Henderson