10. Twist endings that aren't so much twists as much as they are completely different tangents.
Okay, so the giant snake is about the eat the princess who is the only thing on earth that can keep the world from falling into the grip of a bazillion dragons and their minions. How is it another snake -which has never come into the story line at all before now- is fighting the beast to the death instead of the hero? Oh, and for good measure, it's probably a good idea to throw in another dragon which has also never been seen or heard of yet? Well, at least it ended.
9. Totally Unbelievable Battle Sequences.
How is it that when outnumbered 20 to 1 by bad guys (or dragons), the hero can drive between the rain of ammo when the military -armed with tanks, machine guns, rockets, missiles, gunship helicopters, grenade launchers, and a knife- can't kill one little giant reptile, much less stay alive? It just doesn't make sense, in that intelligence offending way. If you can video toaster in an army, video toaster in some casualties.
8. Bad Timing of Sentimental Crap.
The idea of love and eternity should not even come into play in the same scene where the giant creatures battle it out for global supremacy and the the spirit of the chick you've been trying to nail for the first half of the movie turns into a giant pearl and gets eaten. It's kind of like asking someone to pat their head and rub their belly at the same time. It's possible to do, but mostly uncomfortable, and ultimately serves no purpose. Don't do that to your audience, it's annoying.
7. Good Actors, bad ideas - and vise versa
The guy from Carnival, and the sidekick from Xena (okay, she's not a great actress, but she's good, and kinda cute) should not be allowed to star in a movie that ties Noah's ark with the Apocalypse in a Beowulf wannabe monster flick. And then Grendel, a story that is as much about battling ones own inner demons as it is a monster flick, gets some dude with the dynamic range of a slab of wood as it's lead. Uncool.
6. The "Development"
None of the development sequences really ever wind up developing anything as much as it winds up setting up the next action sequence. Also related to number 4. I imagine the writing sessions to be something like, "We can't jump to the next action sequence because of some continuity issues, here's a few lines of dialog that sets it up. Now we can have more stuff explode and splatter blood! God I love our Video Toaster."
5. The "Special" effects
Nevermind the blood effects looking like something out of a 90's FPS video game. Everyone loves video toaster, it's the greatest 80's video effect engine ever, but please use the blood spattered explosions and lightning effects sparingly, and try to stick to items that might believably be left unharmed by those things.
4. Really Bad Dialog
Yeah, I can't really put anything here, as there aren't really any memorable moments in the dialog to quote. Typical horror dialog rules apply, but get taken to a whole new absurd level. Here's a guy who has much more stomach for it than I do, read some of his reviews.
3. Implausible Sets
What's most amazing is how half the buildings in downtown L.A. having been shot up by gunship helicopters, and blown apart by dragon fireballs, amazingly have no structural damage at all. Lets ignore the leap of logic it takes to get from downtown LA to somewhere that looks like an ancient Mayan ritual sacrifice. Apparently those are abundant in LA, but I would imagine its a bit south of Hollywood.
2. Horrible Cinematography
It might have something to do with having to shoot around your expensive helicopter shots of downtown Los Angeles, or maybe it's just artistic license when you're compositing shots of Hawaiian lava flows, the inside of a subway, and a guy melting from the feet up. Don't know, don't care. It's just not pretty.
1. Bad Source Material
It's not like they're reading the best of SciFi over there in the production offices makeing all these movies and stuff. I mean, outside of Dune and Grendal, where are the Asimov novels? Where are the Heinlein, or the Arthur C. Clarkes in this vast putrid waste of video that the SciFi channel spews out every quarter or so? I appreciate camp, and even appreciate the fact that young writers who could not possibly get published otherwise can somehow adapt a crappy story to television and make a few bucks. If they were after pulp scifi, that would be okay... but with great series, like Battlestar Gallactica, it's painful to watch the movie making dollar be squandered, especially when great movies can be made on a budget.