Scott Evil: I have a gun, in my room, you give me five seconds, I’ll get it, I’ll come back down here, BOOM, I’ll blow their brains out!
It irks me when the heroes find a parking space directly in front of any building they’re visiting.
It irks me that traffic tie-ups are used only as needed in the plot - They are an everyday reality.
It irks me when all heroes/heroines become professional street racers when the need arises.
I always do that.
Ooooh! One more.
We spend 2 1/2 hours watching the film waiting for the guy to say “I love you.”
The hero waits until she’s aboard the plane to decide he must tell her at that moment.
She decides to conveniently de-board so that the plane can take off, he can look sad for a moment then the two can meet and kiss.
or -
The hero always has the available resources to fly to wherever the love interest has gone no matter the cost. She was right there with you yesterday, and the day before, but you only realized you love her today and will spend $800 on a last minute flight to Phoenix so you can tell her.
It all started out as a joke/bet/experiment, but now I realize I love you.
The Ugly Duckling is often hotter and more desirable before the make over, proving that she’s just hot already, damn it.
Regarding the fake 555 prefixes for on-screen telephone numbers:
What (if anything) is to prevent the producers from using a real phone number on screen, specifically one they own/use or one specifically purchased to promote the film/TV show?
I mean, maybe Sony, New Line, Time-Warner, etc. should have a set of “fake” numbers that really work … and when dialed would lead to recorded messages promoting their newest projects.
To work, such numbers would have to include area codes (in the U.S.), but that’s not a big deal these days as dialing 10 numbers is ever so common these days, even just to call across town.
Wouldn’t this be a win-win?
I vaguely recall some recent-ish phone number secret promo like that … Anyone?
In a Charles Shultz tribute/anniversary type book, a story is told of a phone number in the strip as part of the strip’s gag. Somehow, tho, he put his own number in! He said he enjoyed the calls, but needed to get back to work.
On 24 last season a real phone number, for one of the crew member’s cell phones, was used as part of the plot; the crew member was then stunned as calls started to pour in to his cell–people had seen the number on the screen and were dialing it to see if someone picked up. The producers ran with it in the end, getting the stars and other staff to talk on the line and record messages. I think Scrubs did the same thing…
I am somewhat looking forward to the movie Poseidon next month.
However…I just know they’re going to pull one if not all of these stupid moves when it comes to swimming underwater:
-People will hold their breath for more than 60 seconds in stressed conditions.
-The submerged passages will be well lit.
-Water visibility will be crystal clear.
-People will be able to mouth directions to eachother, open safes, untie things, etc. underwater without using goggles or a swim mask with ease.
-No one will complain how cold the water is or suffer from hypothermia.
-Their hair will magically dry and restyle itself between scenes.
What annoys me is when characters exit a bar or restaurant and leave their food and drink practically untouched. It’s understandable if they’ve just heard that the Potato Masher Murderer has just been spotted at the old shoe factory, but this phenomenon happens all the time for really trivial reasons.
Along these same lines is that any scene invoving a family in the morning will include a giant, grand slam breakfast that the mom apparently gets up at 4 AM every weekday to prepare. One kid will always arrive at the table late and sit down to enormous plate of pancakes, eggs, bacon, toast, cereal, kippers and hashbrowns. He or she will then take one sip of orange juice, say “I gotta go” and rush out the door. (sometimes it’s because of a honking bus. On what planet do school buses stop outside every house and honk?)
The parent who cooked all this wasted food never seems to resent it that one or more (sometimes the whole family does this) completely ignores it and leaves it on the table.
I hate it when the hero guy takes a baddies gun away from him, ejects the clip, and racks the bullet out, but then tosses the gun away like it’s been permanently disabled from doing so, and then they just walk away. Luckily, bad guys never carry and extra clip on them, as you can reload that pistol in 2 seconds if you’ve practiced at it. There should be more back shot heros.
The one that always annoys me for some reason is when there is a scene in a crowded nightclub, with a band and dancing, but the characters are sitting around a table having a conversation in a normal voice. Whenever I’ve tried to carry on a conversation under those circumstances, I usually have to practically yell in the other person’s ear for them to hear me.
I liked that in The Matrix, when Neo meets Trinity at the hardcore club, they speak directly into each other’s ears. Yeah, I know it also looked cool, and follows a different cliche of characters speaking to each other and not looking at each other, but in any rock club that’s the only way to talk to someone, unless you’re proficient at sign language.
The cliche of characters having a conversation, where both are facing the camera, and one is speaking to the back of the other’s head is kind of annoying. Yeah, the audience needs to see the emotions on the faces of both characters, but how many times do you have an emotional conversation with someone about your unborn child, how your father never loved you, or how the killer is going to track you down and can’t be stopped, and you don’t even look at the person telling you all this?
My bar complaint is that they never order a Bud on tap or an Amstel Light in the bottle - they just say, “Gimme a beer.”
Who the hell orders a generic ‘beer’ in a bar?
Another music-related cliche just occurred to me: no matter how small your town is, famous musicians are likely to drop by at some point.
speaking of nipples, they whould have been standing out at least an inch and very obvious in that satin slip she was wearing
I’ve voiced this exact complaint here before. And they all run tabs, the bartender will hand them the “generic beer” and the guy will just start drinking/walk off. They never pay for the beer.
Another cliche: Any view of a starry night, there will be a shooting star.
So did Gilmore Girls, in autumn 2004, in a way. Luke & Lorelai were just (finally) hooking up when he was called out of town; afraid of losing the tenuous connection, he left her a message on her answering machine with a non-555 number. Intrigued, I called the number myself and found it was plugging an animal-rights charity Scott Patterson(who portrays Luke) supports.
Or, can someone explain to me why the last episode of “24” had two phone numbers in them…one a 555 number and one a regular number?
-Joe