Yes, but back when that was used, it was how people did indeed enter cars. Easier to slide across the front seat than go out into traffic.
At the bar: “Can I get a beer?”
Sorry, all out. How about a milk?
I did like it on CSI: Miami once where one of the techs explained the process of photographic development to the other, who rolled his eyes and said, “I ***do ** * own a camera!” or something like that.
Any movie which wants to establish the relationship between two people with a line like “cause your my brother, that’s why” or “if you weren’t my brother I’d marry you”, etc. etc., although it could be argued this is a good way to introduce these things, it’s just that some screenwriters don’t have the ability to put this type of line in in a relastic sounding way.
Agreed. The OP’s examples seem to be a mixed bag of exposition and theatrical convention. (I tend to consider establishing shots and dateline text as a sort of shorthand exposition.)
Expository material consists of narrative, dialogue, or scenes designed to provide information to the audience. Sometimes exposition is justifiable–a techie character can explain a problem to the audience by explaining it to his non-technical boss. The same explanation appearing in a dialogue between two techies would be harder to justify, because in real life, one techie would bring the other up to speed in one or two sentences of acronyms and impenetrable jargon. Audiences put up with exposition because they need it to understand what’s going on. Unjustified exposition is jarring, but most of us have been conditioned to overlook it in the interest of moving the story forward.
We’ve also been trained to overlook theatrical conventions like the stage whisper and the fourth wall. The physical constraints of the medium often make these things necessary–the cameras have to stand somewhere, after all–so we’ve learned to ignore them unless someone really screws them up.
Verisimilitude, on the other hand, is intended for members of the audience who already know something about the topic at hand. It’s about getting enough details right to make the work seem realistic. Say, for example, that a character in a movie has car trouble–if that particular model of car is selected for the scene because it is known by gearheads to be prone to the problem the character encounters, then it’s a case of verisimilitude.