Title: Movie Clichés: Examining the Most Hated and Overused Tropes that Fail to Impress
Introduction:
Movies have long been a source of entertainment and escape for individuals around the globe. However, over the years, certain clichés or overused plot devices have emerged which tend to overshadow the originality and creativity of the storytelling. In this article, we will explore the most hated movie clichés, diving into why these tropes frustrate audiences and plague the film industry.
1. The Damsel in Distress:
One of the most common clichés in movies is the portrayal of female characters as helpless damsels in distress, waiting to be saved by the male protagonist. This overused trope perpetuates gender stereotypes and fails to showcase the diverse strength and capabilities of women. Audiences today are seeking more empowering female characters who can stand on their own, be resourceful, and contribute significantly to the plot.
2. Love at First Sight:
The concept of love at first sight may seem romantic on the surface, but in reality, it undermines the complexity and depth of true relationships. Relationships built on genuine connection, trust, and shared experiences are more relatable and resonate with audiences. Employing this cliché often results in shallow, unrealistic portrayals of love, leaving viewers disillusioned and craving more intricate narratives.
3. Plot Armor:
Plot armor refers to instances in movies where main characters survive or escape certain death against all odds, due to their importance to the overall plot. While suspension of disbelief is necessary for the enjoyment of a film, excessive plot armor can undermine the stakes and emotional investment in the story. Subverting audience expectations by allowing the main character to face real consequences or even perish can enhance the impact of a movie.
4. Magical Savant:
The Magical Savant is a character who possesses extraordinary abilities or knowledge without any explanation or development. This cliché undermines the importance of hard work, dedication, and training that typically accompanies the mastery of skills. Audiences appreciate well-rounded characters with realistic journeys, showcasing their growth and struggles along the way, rather than a seemingly effortless superhuman being.
5. Convenient Coincidences:
Coincidences are a natural part of life; however, when they become the driving force of a plot, they can feel forced and contrived. Often, movies employ convenient coincidences to move the story forward or resolve conflicts too easily. Audiences desire well-crafted narratives that challenge characters, allowing them to solve problems through their own actions and decisions rather than relying on improbable coincidences.
6. Unnecessary Narration:
While narration can serve as a valuable storytelling tool when used sparingly, excessive and unnecessary narration can feel intrusive and spoon-feed information to the audience. Effective filmmaking should allow viewers to piece together the story through engaging visuals and well-developed dialogue, enabling them to draw their own conclusions. Relying too heavily on narration detracts from the cinematic experience and prevents immersion into the narrative world.
7. Predictable Twist Endings:
While twist endings can be thrilling when executed well, overly predictable twists have become a common movie cliché that fails to engage audiences. Viewers appreciate plot twists that challenge their expectations, offering fresh perspectives and leaving a lasting impact. Predictable twists demonstrate a lack of originality and can lead to disappointment, undermining the overall movie experience.
Conclusion:
The film industry is constantly evolving, and with it, the expectations of audiences. By highlighting and ultimately avoiding these clichés, filmmakers and writers can create more authentic, innovative, and engaging stories that captivate and resonate with viewers. It is important for filmmakers to break away from tired tropes and embrace originality, diversity, and complexity in storytelling to keep audiences intrigued and foster a passionate appreciation for movies. By doing so, the film industry can continue to flourish and inspire for generations to come.
I’ll go first.
When two characters are about to kiss and it’s so obvious someone is going to walk in an interrupt them from doing it.
The Hollywood Hangup: a character hangs up the phone without saying goodbye or ending the conversation in a natural way, it pulls me out of the movie every time.
Any type of dialogue where the bad guy tells the good guy something along the lines of “you may not know this but we are more similar than you think”
The slasher movie villain who’s never really dead.
The: “It’s my last mission. Can’t wait to see my wife and baby girl. Then immediately dies in some dramatic way, “thing.
Also applies to “It’s 3 days ’til retirement”
If you cough you die.
Also when something could be resolved with one sentence but they choose to let the other person just walk away.
Specific to horror movies, but the “character opens a door and closes it to reveal a monster behind it” jumpscare is overdone.
Protagonist cop is a few days from retirement. Then shit goes down.
When the protagonist “doesn’t do that anymore” and the movie requires his expertise because “he’s the best” so he ends up “doing that thing he swore never to do again.”
The bad guy not killing the good guy immediately
What’s that? There’s only -TEN- seconds until my ultimate life goal is accomplished? Let me explain the entire plan with its flaws exposed so the hero can fix this shit in 9 seconds.
The bad guy will be pointing a gun at the good guy. All he needs to do is pull the trigger. But he talks instead. And that’d buy time for our good guy so that he could outwit the bad guy.
*”When you have to shoot, shoot. Don’t talk.”*
Children who either talk like cynical 40 year olds (Ghostbusters: Afterlife) or simply exist to defy their parents and do what they want putting everyone in danger. Usually getting them out of danger means innocents die.
Person with a soon to be married partner (or just any partner) moves to a new town on their own for a work thing or whatever and falls for the “mysterious” guy and then proceeds to cheat on their partner with them (+rubbing it in the partners face)
Feedback whenever someone starts talking into a microphone.
Falling through windows, because apparently toughened glass doesn’t exist.
When digging a hole to bury a body, the hole always has perfectly vertical sides. Anyone who’s ever dug a hole knows this is impossible.
At the end of any class, as everyone is leaving, the teacher tells them to “read chapter 4”. Never happened in real life.
When someone tells a joke but you only hear the punchline.
The only living descendant of a +1000 years old lineage
For thousands of years, the family never branched? It’s always only one kid at a time?
Any plot that easily could be resolved if two characters simply talked to eachother
One guy fighting off 10 guys and instead of them attacking him all at once, they wait their turn to be defeated.
A pregnant woman is immortal until she gives birth.
A teacher says, “Today we’ll be talking about the Civil War” and the bell rings. As the students file out of the classroom, “And write a 2-page essay about Abraham Lincoln!”, like, lady, read a single article on lesson planning and time management.
“I can explain!” – proceeds to not explain while the other person leaves in a huff.
When the villain is about to win but decides to keep talking to the protagonist giving them the time to do something or being rescued by someone else. This pisses me off so much.
A character intentionally cutting their palm when they need blood, wrapping a basic bandage around around it, and then being fine for the rest of the movie. That shit would HURT, and your hand would be pretty much unusable for weeks while it heals, hopefully not leaving a nasty scar which limits movement for the rest of your life.
A character arriving to a restaurant or a diner, ordering, and leaving without having a single bite, or even before the food even gets to the table. It’s so pointless, why even have that scene in the movie? If they’re there to talk to someone, just don’t have them order for no reason and that’s it.
The nerdy girl turns hot
When the driver of a car keeps their eyes focused on the passenger for an entire conversation without looking at the road
*Kills many of the main villain’s expendable henchmen in order to reach the main villain, then when they reach the main villain…* “No, I’m not going to kill you, because then I’d be as bad as you.” Fuck off…
Takes her hair down and her glasses off, and oh look she’s been hot this whole time!
Villain: “If you kill me, you’ll have blood on your hands and will be exactly the same as me.“
Hero, while standing on the pile of bodies he killed on the way in: “Woe is me, what a moral conundrum!”
“No time to explain”
Cut to another scene in a different location indicating that you probably had a little time to explain. But main characters still clueless.
“We’ll make our way through the air ducts…” No, you won’t. That’s not reality.
Okay this is very minor, but when they are at a funeral and the headstone is already there. It takes months for the ground to settle after digging it up. If they put the headstone on it too soon, it would sink a bit.
Realising they’re the one before the other person is about to board a plane/train, and rushing to reach them at the gate and running through traffic/airport as final take off announcement is made… and making it in time to stop them, kiss, and have a 10 minute conversation.
P.S I hope writers who are on strike right now have a lot of time to read these comments. We can do with a rebirth of cinema!
Turn the TV on
*turns tv on to the exact channel at the exact time the exact thing they need to hear is being talked about, without missing anything.