Dead Presidents has a “kill me. do it.” scene that is actually plausible.
During the Viet Name sequence, Lorenz Tate is carrying a fallen platoon-mate out of the jungle. The poor guy had has guts obliterated and was intentionally emasculated. It’s doubtful that he’s going to make it at all and while Tate is fireman-carrying the guy out of the brush, he’s whispering in his ear, “Kill me, Curtis. I can’t go home like this. I would do it for you.”
You can see Tate’s character anguishing over whether he should put his friend out of his misery and leads one to wonder how many soldiers may have actually had to face a similar dilemma.
[QUOTE=minlokwat] Dead Presidents has a “kill me. do it.” scene that is actually plausible.
During the Viet Name sequence, Lorenz Tate is carrying a fallen platoon-mate out of the jungle. The poor guy had has guts obliterated and was intentionally emasculated. It’s doubtful that he’s going to make it at all and while Tate is fireman-carrying the guy out of the brush, he’s whispering in his ear, “Kill me, Curtis. I can’t go home like this. I would do it for you.”
You can see Tate’s character anguishing over whether he should put his friend out of his misery and leads one to wonder how many soldiers may have actually had to face a similar dilemma.
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That scene stuck with me quite awhile after seeing it in the theatre.
“Kill me before I become a vampire” (okay, not those exact words, but pretty close) is used once or twice in 30 Days of Night. It is quite understandable given the context, though.
“Kill me before I become a vampire” (okay, not those exact words, but pretty close) is used once or twice in 30 Days of Night. It is quite understandable given the context, though.
[QUOTE=Cisco]
I really wanted to discuss do it do it kill me; what movies it has been in, why writers still think it’s ok to include it, how anyone can take it seriously, etc.
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The bad guy and the good guy finally come to a head where the bad guy has the upper hand.
He immediately launches into a smug, egomaniacal speech detailing his gift, plans, and exploits while casually brushing a rogue piece of fluff from his $6,000 suit. Yawn
I wish that just once the bad guy would blow away the good guy at the first chance he got.
[QUOTE=Cisco]
That might be one of the earliest examples. If anyone can come up with the first example you win my everlasting admiration.
[/QUOTE]
Rick tells Ilsa to kill him, and even leans into the gun, in Casablanca.
Jake Mazursky tells Johnny Truelove to shoot him in Alpha Dog when he’s got the pistol pointed at him: “You point that gun at me, you better pull the fucking trigger! Well DO IT!”
But I think he knew that Truelove wasn’t going to shoot him, and he just did that to prove that Truelove didn’t “have the balls” in front of his entourage.
[QUOTE=MizTina]
The thing that causes my teeth to grit is that stupid, stupid, STUPID neck cracking horse crap. I go for the remote now when I see it.
Did I mention how stupid I think it is?
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Can you please give an example? I’m not at all sure what you mean, which is impairing my ability to hate neck-cracking horses as much as they clearly deserve.
[QUOTE=abbeytxs]
The bad guy appears to be dead, but no. Just when everyone has let their guard down, BAM, he jumps back up, only to be dispatched yet again by the good guy, the good guy’s love interest, the grudging respect guy, etc.
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Some friends convinced me to come with them to see The Hills Have Eyes, and I laughed out loud in the theater when the hero not only turns his back on the presumed-dead villain, but drops a shotgun next to him. Naturally, there’s a Tragic Child nearby, ready to sacrifice herself.
Long meaningful conversations between two people (For the sake of example lets called them Bill and Bob) that end with Bob getting up and walking to the door, then the following exchange happens
Bill: Bob?
Bob: What?
Bill: …Thanks
It pleased me no end that I was able to completely cut this out of a play I directed a couple of years ago.
Protagonist rushes into authority figure’s office during moment of crisis. Female secretary gets up and yells “you can’t go in there!” Protagonist naturally ignores her.
[QUOTE=Bites When Provoked]
Can you please give an example? I’m not at all sure what you mean, which is impairing my ability to hate neck-cracking horses as much as they clearly deserve.
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At 1:22 of this clip from The Matrix, among other places.
You know what I am really sick of seeing? When someone is driving and a car comes up opposite the camera and sideswipes them. It seems like in recent years, I have seen that nearly a dozen times.
I can’t think of all the examples, but I know it was in The Forgotten, at least one of the Bourne movies, plus at least one episode of ER and an episode of Nip/Tuck. Now I’m disappointed that I can’t come up with a better list than that. I know I have seen that so many more times in other movies. Maybe someone else can think of a few more.