Like Milk: 20 Popular Movies That Haven’t Aged Well

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Ignacio Weil

Entertainment - May 28th 2025, 19:01 GMT+2

Cropped Star Wars The Force Awakens 2015 — Star Wars: The Force Awakens (2015)

When *The Force Awakens* debuted, it felt like a new hope – literally. We got lightsabers, desert planets, and yet another orphan with a destiny (hi, Rey!). But looking back, J.J. Abrams' reboot plays it so safe it could’ve been designed by a Star Wars focus group. It’s essentially *A New Hope* with shinier CGI and slightly more diversity—though most of the new cast (including the fantastic John Boyega and Daisy Ridley) were underserved in the sequels. And let's be honest, seeing Han Solo and Leia awkwardly reunited felt less like galactic romance and more like a family reunion gone wrong. Today, it reads more like a glorified nostalgia trip than the start of a bold new era. | © Lucasfilm

Cropped the help 2011 — The Help (2011)

*The Help* meant well – really, it did – but it’s hard to ignore the heavy white savior vibes wrapped in pastel dresses and Southern charm. With Viola Davis and Octavia Spencer delivering powerful performances, the film *could* have been a landmark. But then Emma Stone’s character swoops in to “tell their story,” and suddenly it’s less about civil rights and more about feel-good comfort food for white audiences. It’s like putting sprinkles on a tough historical truth and calling it dessert. Even Davis has expressed regret about her involvement, which kind of says it all. Still, there’s no denying the acting talent – it just deserved a story that didn’t play it so safe. | © DreamWorks Pictures

Cropped the blind side 2009 — The Blind Side (2009)

Sandra Bullock won an Oscar for this, but these days *The Blind Side* feels more like a fumble than a touchdown. Telling the story of NFL player Michael Oher, the movie centers way too much on Bullock’s character – the wealthy white savior who "rescues" him from poverty. Oher himself has criticized the way the film portrayed him, turning a real-life athlete into a wide-eyed, gentle giant with almost no agency. It’s less about his journey and more about how good the Tuohy family felt doing charity. There’s no doubt Bullock gives it her all, but the script gives us more Hallmark than hard truth. It’s inspirational... if you don’t think too hard. | © Alcon Entertainment

Cropped Twilight 2008 — Twilight (2008)

Oh, *Twilight* – a sparkly fever dream of vampire brooding, awkward stares, and emotional codependency. Robert Pattinson and Kristen Stewart gave us a love story for the ages... if that age is roughly 13. While it was undeniably a pop culture juggernaut, rewatching it now is like opening an old MySpace page: cringey, nostalgic, and full of questionable decisions. Edward’s stalker tendencies? Bella’s lack of hobbies beyond vampire-adoring? Jacob’s shirt allergy? Yikes. Sure, it was formative for a whole generation, but that doesn’t mean it aged like wine. More like milk left in Forks’ cloudy weather. | © Summit Entertainment

Cropped superbad 2007 — Superbad (2007)

Once hailed as a coming-of-age comedy classic, *Superbad* now lands with more of a “yikes” than a “haha.” Jonah Hill and Michael Cera had killer chemistry, and who could forget Emma Stone’s breakout role as the effortlessly cool love interest? But watching it today, the jokes that once seemed edgy now feel more like relics from a less self-aware era of teen comedy. There’s a fine line between crude and problematic, and *Superbad* hopscotches across it with reckless glee. It’s got charm, sure, but it also reeks of boys-will-be-boys energy that feels a bit tired in 2025. We still love McLovin, though – he’s forever. | © Columbia Pictures

Cropped 300 2006 — 300 (2006)

This. Is. Sparta! And also... a lot. *300* was Zack Snyder’s slow-mo epic that turned ancient warfare into a CGI-fueled testosterone fever dream. At the time, it looked revolutionary –Gerard Butler yelling with his abs, Michael Fassbender swinging swords, and a whole lot of sepia-toned violence. But now? It feels like a gym bro's fantasy history report. The stylized gore, the over-the-top machismo, and the extremely one-dimensional portrayal of Persians don’t exactly scream nuance. It’s big, loud, and impossible to take seriously without at least a smirk. | © Warner Bros. Pictures

Cropped crash 2004 — Crash (2004)

Once the little film that could, *Crash* famously won Best Picture over *Brokeback Mountain*, and people have been side-eyeing the Academy ever since. Starring Don Cheadle, Sandra Bullock, and Matt Dillon, it tried to tackle racism in Los Angeles through interconnected stories. Admirable, yes – but subtle it is *not*. Every scene feels like it’s hitting you over the head with a message, and the moral complexity is often replaced with awkward dramatic monologues. It wants to be deep, but ends up playing like an after-school special with A-listers. Let’s just say this "crash" didn’t age so gracefully. | © Lionsgate Films

Cropped underworld 2003 — Underworld (2003)

When *Underworld* arrived, it gave us leather, Lycans, and Kate Beckinsale looking like she moonlighted as a Matrix extra. It was moody, goth, and cool in a Hot Topic kind of way. But despite its visual flair and brooding vampires-vs-werewolves premise, the plot is so convoluted it makes *Inception* look like a bedtime story. Watching it now, you realize the real enemy isn’t the Lycans – it’s the exposition. Still, Beckinsale slays (literally and fashionably), but the overly serious tone and dated CGI definitely show their age. | © Screen Gems

Cropped i am sam 2001 — I Am Sam (2001)

Sean Penn went full Oscar-bait in *I Am Sam*, playing a man with an intellectual disability fighting for custody of his daughter, with Dakota Fanning (adorable and precociously wise) by his side. While the performances are earnest, the film's portrayal of disability leans heavily into sentimentality and stereotype. It walks the fine line between heartfelt and manipulative – and often stumbles. Even with Michelle Pfeiffer trying to ground things as the high-powered lawyer with a heart of gold, the script is more concerned with making you cry than making you think. It’s a well-meaning tearjerker that didn’t quite evolve with the times. | © New Line Cinema

Cropped american pie 1999 — American Pie (1999)

Once the crown jewel of late-’90s teen comedies, *American Pie* now plays like a how-to guide for everything *not* to do in high school. Jason Biggs and Seann William Scott (as the legendary Stifler) led the charge in a film obsessed with awkward intercourse, webcams, and one very unlucky baked good. At the time, it was seen as edgy and hilarious; now, a lot of the humor feels creepy or just plain inappropriate. There’s nostalgia here, sure, but it’s layered under a thick crust of "wow, that did not age well." Still, it gave us one of cinema’s most infamous pies, so... there’s that. | © Universal Pictures

Cropped pretty in pink 1986 — Pretty In Pink (1986)

Ah, *Pretty in Pink* – the John Hughes love triangle that gave us Molly Ringwald in iconic thrift-store chic, and a lesson in how not to pick a prom date. Ringwald shines as the smart, sensitive outsider, but rewatching it now, you can’t help but wish she ended up with Duckie (played with chaotic charm by Jon Cryer) instead of the terminally beige Blane (Andrew McCarthy). The fashion? Still fabulous. The class commentary? A little murky. And let’s be honest, Duckie’s "Try a Little Tenderness" dance borders on stalker behavior in hindsight. It’s a classic, yes, but one that definitely comes with an asterisk. | © Paramount Pictures

Cropped soul man 1986 — Soul Man (1986)

It’s hard to believe *Soul Man* ever made it past the pitch stage – let alone into theaters. The plot? A privileged white student (played by C. Thomas Howell) darkens his skin to pose as Black so he can get a scholarship meant for African Americans. Yes, that’s the *entire* premise. Even in the '80s, this raised eyebrows, but today it’s downright jaw-dropping. Despite some attempts at satire, the film leans on stereotypes and offers a tone-deaf approach to racism, all while thinking it’s saying something profound. Spoiler: it’s not. It's like *Tootsie*, but infinitely more uncomfortable. | © New World Pictures

Cropped Sixteen Candles 1984 — Sixteen Candles (1984)

John Hughes strikes again, and while *Sixteen Candles* made Molly Ringwald a teenage icon, it also made a *lot* of questionable choices. The casual racism of the Long Duk Dong character, the way sexual consent is treated like a punchline, and the cringe-inducing high school party scene all feel like relics from a time when no one was really thinking twice. Anthony Michael Hall plays the geek with chaotic energy, and Ringwald is as relatable as ever – but the surrounding story hasn’t aged as gracefully as her performance. Nostalgia can't quite save this one from modern side-eye. | © Universal Pictures

Cropped revenge of the nerds 1984 — Revenge Of The Nerds (1984)

At first glance, *Revenge of the Nerds* looks like a goofy underdog story: brainy misfits take on frat boy bullies and win. But dig just a little deeper and you’ll find some *deeply* problematic content – like the infamous “disguise” scene that today reads less like a prank and more like a felony. Robert Carradine and Anthony Edwards lead the nerd revolution, but the film’s take on women, consent, and gender roles makes it tough to laugh along now. It’s proof that not every “revenge” story ages well – some should’ve stayed in the '80s. | © 20th Century Fox

Cropped porkys 1981 — Porky's (1981)

*Porky's* was one of the original raunchy teen comedies, paving the way for *American Pie* and others – but now it plays more like a cautionary tale in what *not* to do in storytelling. It follows a group of hormone-fueled teenage boys as they peep, prank, and pester their way through a series of “adventures” that include spying on girls in the shower. At the time, it was seen as bold and hilarious. Today? Not so much. It’s loaded with sexism, voyeurism, and a general "boys will be boys" attitude that doesn’t hold up in the slightest. Sorry, nostalgia—this one’s staying in detention. | © 20th Century Fox

Cropped manhattan 1979 — Manhattan (1979)

There’s no denying Woody Allen’s *Manhattan* is gorgeously shot – New York has never looked so dreamy in black and white. But then you remember the plot centers on Allen’s character, a 42-year-old man dating a 17-year-old girl played by Mariel Hemingway, and suddenly the jazz soundtrack feels... a bit off. Even in its own time, the age gap raised eyebrows, but today it feels like a major red flag wrapped in artsy cinematography. Meryl Streep also makes an appearance, playing Allen’s ex-wife, but even her presence can't distract from the elephant in the room. Aesthetically iconic, ethically icky. | © United Artists

Cropped grease 1978 — Grease (1978)

We all know the songs, the slicked-back hair, and the sudden flying car ending, but *Grease* is a teen musical that hasn’t exactly aged like fine wine. John Travolta and Olivia Newton-John ooze charm, but rewatching the film reveals a surprising amount of problematic messaging. Between Rizzo’s shaming, Sandy’s full-blown personality transformation to please a guy, and lyrics that make you go, “Wait, what did he just say?” it’s hard not to cringe through the chorus. It’s still fun, but also kind of like your uncle’s dance moves at a wedding – nostalgic, awkward, and hard to defend. | © Paramount Pictures

Cropped Last Tango in Paris 1972 — Last Tango In Paris (1972)

Even if you haven’t seen *Last Tango in Paris*, you’ve likely heard of *that* scene – and unfortunately, the behind-the-scenes story is worse than the film itself. Marlon Brando stars in this sexually charged drama opposite a young Maria Schneider, and while the movie tried to push artistic boundaries, it ended up crossing ethical ones. Schneider later revealed she was traumatized by filming, particularly due to a controversial scene that wasn’t fully disclosed to her beforehand. What was once seen as “raw” and “bold” is now viewed as exploitative and deeply disturbing. This isn’t aging badly – it aged into a cautionary tale. | © United Artists

Cropped breakfast at tiffanys 1961 — Breakfast At Tiffany’s (1961)

Audrey Hepburn’s performance as Holly Golightly is iconic, no doubt – but *Breakfast at Tiffany’s* carries one major blemish that just won’t fade: Mickey Rooney’s horrifically offensive portrayal of Mr. Yunioshi. What was played for laughs in the '60s is now rightfully called out for its overt racism and grotesque caricature. Even with the charm of Hepburn and the swoon-worthy soundtrack, that one character sours the whole experience. It’s like finding a fly in your champagne coupe – hard to ignore. Glamorous? Yes. Problematic? Also yes. | © Paramount Pictures

Cropped the birth of a nation 1915 — The Birth Of A Nation (1915)

Historically significant? Sure. Deeply, horrifyingly racist? Absolutely. *The Birth of a Nation* is one of cinema’s earliest full-length features, but it also glorifies the Ku Klux Klan and demonizes Black Americans in ways that are shockingly vile even by 1915 standards. Directed by D.W. Griffith, it’s a technical achievement wrapped in a deeply offensive package. It influenced filmmaking for decades, but also helped revive the Klan in real life. This isn’t just a movie that aged poorly – it’s a monument to how dangerous cinema can be when used irresponsibly. Required watching for context, not comfort. | © David W. Griffith Corp.

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Not all films stand the test of time. While some classics continue to charm audiences decades after their release, others have lost their appeal due to outdated special effects, cringe-worthy dialogue, or problematic themes. In this article, we’re diving into 20 popular movies that haven’t aged well. Whether it’s due to cultural shifts, changing social norms, or simply declining quality over time, these films now feel more like relics of their era than timeless masterpieces. If you’ve ever rewatched a favorite only to be surprised by how off it feels today, you’re not alone. Let’s explore the movies that didn’t age as gracefully as we hoped.