CURRENT MOVIE CLICHES

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My pants ran off with an antelope.
Well, Fallout Las Vegas starts with you (the protagonist) getting shot in the head after a monologue, so we can eat our cake and have it too, so long as you can abide a deus ex machina after being shot (e.g., the hidden book or the flask taking the bullet or the cliche of the reveal that our hero was wearing a vest). If we want more plausibility, we can show the painful rehabilitation of a Hank Schrader after his brush with the twins.

Or we can find out that the hero wasn't the hero and the story goes on without him. Someone else carries the torch to the finish line. Or the hero can be left to live, because the plan has either succeeded (Ozymandias monologuing post-victory in Watchmen) or failed (Tina Turner releases the raggedy man Max after her loss, because killing him doesn't matter anymore).

Or we can just do the monologue as a "time-out" (e.g., that scene in HEAT where the goodie and baddie just have a cup of coffee in the middle of the film).

The cliche can't go away entirely. At least, the problem that drives it can't. A fundamental problem with writing: We have to get our hero into danger; we have to get our hero back out of danger. We also want emotional release (basically, we're all Karens who want to rant at the manager before getting refund) and we need exposition (What the hell is going on? What is the master plan?). The monologue offers a nice way to tie-off all these needs. The villain goes on a little too long and our hero escapes. But yes, we all wind up feeling like Scott in Austin Powers from time-to-time.
I forgot to mention that when Wyke tells Tindle his plan in Sleuth '72, he still shoots him. I get it though; it's a way for the hero to wriggle his way out of danger and showcase the danger he faces. Any film element can work if handled properly, so a well-timed monologue can be very effective. It just needs the streams to cross at the right moment.
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I hate insomnia. Oh yeah. Last year I had four cases of it, and each time it lasted three months.



Pay no attention to that man behind the curtain
In every action movie before the final confrontation: "Let's do this!"
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Scarecrow: I haven't got a brain ... only straw. Dorothy: How can you talk if you haven't got a brain? Scarecrow: I don't know. But some people without brains do an awful lot of talking, don't they? Dorothy: Yes, I guess you're right.



In every action movie before the final confrontation: "Let's do this!"
You can do this!

I've got you!

We can do this!

Let's go!



Every small child in an American movie wants pancakes for breakfast. WTH! Who even has time for making pancakes first thing in the morning? A bowl of cornflakes is what we got as kids.
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I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.



Pay no attention to that man behind the curtain
Every small child in an American movie wants pancakes for breakfast. WTH! Who even has time for making pancakes first thing in the morning? A bowl of cornflakes is what we got as kids.
The morning breakfast in films is symbolic of family status. The rich kids have parents who have the time to prepare a breakfast of pancakes and fresh-squeezed orange juice before driving them to school and dropping them off with their lunch money tucked safely in their pockets. For trailer trash kids, it's coco puffs or froot loops in too-little milk, just before they are shoved out the door to dash for the school bus, carrying rumpled brown paper bags with peanut-butter-and-banana sandwiches.

I figure every culture has food stereotypes to denote class. When I was posted to a tech company in Abingdon for six months (December through May 92), I expected we'd have tea time with mini cakes about 3 or 4 p.m. Nope. Coffee was as much in evidence as tea. No cakes. No biscuits. (I learned quickly not to ask for cookies.) Hard-working young ones, mostly out of college. No one calling anyone sir or madam.



The morning breakfast in films is symbolic of family status. The rich kids have parents who have the time to prepare a breakfast of pancakes and fresh-squeezed orange juice before driving them to school and dropping them off with their lunch money tucked safely in their pockets. For trailer trash kids, it's coco puffs or froot loops in too-little milk, just before they are shoved out the door to dash for the school bus, carrying rumpled brown paper bags with peanut-butter-and-banana sandwiches.

I figure every culture has food stereotypes to denote class. When I was posted to a tech company in Abingdon for six months (December through May 92), I expected we'd have tea time with mini cakes about 3 or 4 p.m. Nope. Coffee was as much in evidence as tea. No cakes. No biscuits. (I learned quickly not to ask for cookies.) Hard-working young ones, mostly out of college. No one calling anyone sir or madam.
My oldest bro is a doctor of physics & lives in Abingdon. Which is in Oxfordshire IIRC.



Action films using the Absent Father to give the story what they fondly imagine is an emotional core



If a film has two characters and only one telescope or set of binoculars, one character will simply snatch it/them out of the other person's hands to take a look through it/them.



More a timeless cliché than a current cliché: cranberry sauce drama in Thanksgiving Day storylines.



These were hilariously bad! I especially liked the one where the women was thrown down the stairwell and hit practically every railing along the way. I thank you!
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"Miss Jean Louise, Mr. Arthur Radley."



I once heard someone say that no one ever uses the words "I'd like that." in real life. I think of this every time I see it in a movie.



Brutally cold in Connecticut today. Is it August yet?
Wondering how this comment made it into this thread.



The counterpart to "Irving the Explainer" (the exposition dump character) is "dump dialogue" in which character dump through dialogue. I was watching the first episode of "The Pit" (HBO does an ER drama, yawn) and the characters talk to each other.

"Hello Fred, are you still blaming yourself of your friend which was totally not your fault?"

"I'm dealing, Brenda, but your quirky and ingenuitive personality won't help me process my grief any faster."



Is not saying goodbye at the end of phone calls still a thing in movies today?
I literally just spotted a similar one just now.

Watching Independence Day as there's nothing else on, and Whitmore hands the phone to his daughter as her mother is on the phone.
As she grabs the phone, the mum's voice goes "Hi, Honey" before she would even know that the girl even had the phone to her ear.

The magic of visuals goes over the logic.



Characters promising someone something they have absolutely no control over.



One that always kills me, and it seems to happen invariably, is that whenever someone needs to apply a bandage to a wound, they tear the bandage/shirt/cloth in half first.
With their teeth



More a timeless cliché than a current cliché: cranberry sauce drama in Thanksgiving Day storylines.
There’s always a drama about who’s going to make the cranberry sauce. My mother used ocean spray out of the can forever. I was an adult when I heard of someone making cranberry sauce