Worn out scenes

[billd91]

How about the main character turning to their parent/true love/spouse/best friend/mentor/trusted buddy, only to learn the parent/true love /spouse/best friend/mentor/trusted buddy is – in fact – evil, possibly insane and in on the evil plot from the start.

Above any beyond being done to death, this always makes me think the hero has really poor skills in picking friends.

Ah yes. But for every one of the cliche uses of these topics, there's at least one movie for which they are relatively innovative and interesting. And it's partly because of these good uses that they become cliche in the first place.
I'm thinking here of the brainwashed soldier's Chinese-agent handler in the original Manchurian Candidate... brilliant movie.

 

[Stone Angel]

I am sick of someones gun jamming in a firefight usually well timed to ensure the protagonists survival, if you are a professional you would probably have a well working piece of equipment or drop crappy piece of blank weapon and draw a secondary weapon or grab one nearby not stand there like a crash test dummy smacking your gun and cursing waiting to die a buffoon.

Stabber chase scenes! Too long and drawn out. Grab something heavy and smack that motha
and get it over with.

Capturing the bbeg, deciding not to kill them, but then the bbeg pulls a concealed weapon out and is forced to be dealt with.

When the seemingly most adequate member of a group dies first usually the victim of circumstance eventually leaving only a lone inexperienced youngin to herald their cause to victory whatever that may be.

This applies to horror movies mostly Freddie and Jason type. The bbeg is defeated and everyone is hugging and celebrating. Some while later right at the end of the movie something happens that is a trademark of the bbeg. Groan lame


The Seraph of Earth and Stone

 

[WizarDru]

I am sick of someones gun jamming in a firefight usually well timed to ensure the protagonists survival, if you are a professional you would probably have a well working piece of equipment or drop crappy piece of blank weapon and draw a secondary weapon or grab one nearby not stand there like a crash test dummy smacking your gun and cursing waiting to die a buffoon.

Can you give a couple of examples, there? I can't recall seeing a scene like this, so I'm curious where it's been used.

 

[Rigil Kent]

How about the main character turning to their parent/true love/spouse/best friend/mentor/trusted buddy, only to learn the parent/true love /spouse/best friend/mentor/trusted buddy is – in fact – evil, possibly insane and in on the evil plot from the start.

Taking this one step further, I hate how the villain who has been pretending to be a great person abandons this role as soon as the Hero learns of his treachery. That animated movie Titan AE is a perfect example of this and it makes NO sense. Why would he abandon the fake role of the good guy once ONE person knows his true allegiance?

I'd like to see a movie in which they take all of these cliches and avoid them. The super-spy's identical twin is thrust into a situation that he is totally unprepared for and, instead of attacking the Evil Warehouse of Doom himself, he calls in the Navy SEALS. He gets the drop on a bad guy and shoots him in the face. The love interest tries the sexy stripper dance to get a weapon from a Faceless Mook but the Mook shoots her in the face. Etc.

It would probably bomb in the box office though...

 

[Berandor]

Capturing the bbeg, deciding not to kill them, but then the bbeg pulls a concealed weapon out and is forced to be dealt with.

I hate this. Why do studios believe we always want to see the bad guy dead? Why kill the Joker? And this scene (see above) has really been done to death.
But also why cops never shoot a baddie in the shoulder, or knee - they always shoot to kill (unless the baddie is a hero, as in Out of Sight).

Another (from fairly different types of movies):
The hero(ine) is getting married, and suddenly her true love appears and they get together at the final minute, leaving the prospective spouse standing at the altar.

 

[Lord Pendragon]

But also why cops never shoot a baddie in the shoulder, or knee - they always shoot to kill (unless the baddie is a hero, as in Out of Sight).

Actually, they shoot to hit. It's a lot harder to try and hit someone in the shoulder or the knee, than it is to aim dead center. There's a far greater chance of missing altogether. And when someone is pointing a gun at me, I'm far more concerned about putting him down before he can put me down, than I am about just wounding him.

 

[ragboy]

It would probably bomb in the box office though...

And we'd be discussing how 'shooting someone in the face' was a tired scene...

 

[Elemental]

So far we've seen mostly action movie hackneys.

How about the morning after any love-scene, one character (usually the main character) will invariably wake up to find his or her partner missing.

Also, if the movie starts with the main character in bed with someone, that character (usually partially nude) will never be seen again.

Speaking of that, how about the amazing L-shaped sheets which post-coitus, will reach up to the navel of the man, but somehow reach up to shoulder level on the woman right next to him?