2. Freddie In The Master
Depending on who you ask, The Master was either the best or worst film of the year. Paul Thomas Andersons much anticipated post-war drama ended up being a lot less concerned with scientology than dissecting the destroyed masculinity of men just out of battle. Deeply moving or heavily pretentious - its your call. Whats odd about the film is that both those who love and hate it bring up the same point as proof of the dominance of their viewpoint. The end of the film shows us Freddie in a rather saucy act, ridiculing the cult process he used to be so infatuated with. Cutting back to the films opening, it ends hammering home just how little he's changed. Loving the film, this is as depressing an ending as you can get; after everything hes still a damaged drunk with little motivation other than sex. This point stands out on this list because the lack of development is entirely the directors intentions, making it a rather pleasing entry. Aside from the generally ill advised Dredd, every other entry has been poor work on the screenwriters part, highlighting holes in their plots, rather than tightening them.