I do, however, know that the results often have a manufactured quality, as if churned out from a machine fed specific information about character, theme and plot needs.
Some of these plots are recognizable from film to film. I’ve listed a number of them below as being, in my humble opinion, among the most overused. This isn’t a comprehensive list, nor is it objective … though I’d like to think it is. Anyway, here are my cinematic gripes for the day:
Single/Divorced Dad With a Heart (and Soul) Finally Finds True Love: They never tell you why he’s single, though, do they? Maybe he eats other people’s nostrils. Or likes Jerry Lewis films.
Zombies Run Amok After Some Medical Experiment Goes Awry: The least interesting monster in any monster movie often gets the star treatment–probably because you don’t have to write lines for it.
Man/Woman on the Run Hides Out in a Dance Studio; Comedy Ensues: And, unfortunately, singing. More often than not, the singing’s worse.
Sensitive, Movie-Buff Hit Man Retires to Home Town, Then Discovers He Never Really Left: What a long, strange trip this usually is, especially when references to Lash LaRue start popping up.
Ordinary Guy Finds Out He’s “The One” to Save the World; Stupidity Ensues: Also boring, slow-motion fistfights and pseudo-martial arts mayhem. Yuck.
Seminal Ancient Battle Gets “Reimagined” for the Screen with Posturing and CGI Blood: At this juncture, the squibs of yore seem more realistic. Add macho yelling and stir.
Multiple Stories About Folks Around the World Intertwine Tediously: Please, please stay with fewer characters. Once you spin a web surrounding too many people, the movie loses focus.
Dance Team Saves the Town Via Dreadful Flash-Mob Theatrics and Cheap Sentimentality: Possibly the least credible plot device of any film in this bunch. And I’m including the zombie one.