Annoying "Other" categories

There are certainly instances where they manage to deliver decent films. They can range from anything—say, that tired, overly sanctimonious cop archetype who thinks he’s some kind of hero, to those standard🤮 predictable little beats, like the constant flickering candlelight during sex scenes or that ubiquitous, hollow "I appreciate it" line you seem to hear in every third movie. I find myself wondering—to what extent, or perhaps even how much, do these clichés actually grate on your nerves?
Or am I just being uniquely...

We’ve got company!

It's everywhere. You can hear it coming from every direction.

I'm not quite following this thread.

redowl90 said:I honestly don't follow what this thread is even about.

It’s really just a matter of those so-called tropes, which you find in literature as well—for instance, those tired stereotypes that seem to crawl through endless piles of movies just to irritate us. Take the classic rebel cop who picks fights with everyone in sight yet somehow remains perfectly "righteous." Or, more frequently seen in crime flicks or thrillers, those incredibly clichéd lines like, "(We're) back to square one."

Oh, those tired old clichés... like when a Black executive suddenly becomes the boss. We've seen this trope played out far too many times already.

I think you’ve got things a bit mixed up here...
The thing is—and bear with me—tropes and conventions actually sustain cinema; movies essentially feed off these established patterns.
Take the whole Spaghetti Western genre, for instance. It relies heavily on two specific tropes: exploiting the backdrop of the Mexican Revolution and that classic, gritty revenge motif where the protagonist is out for blood because of a lost father, brother, or wife. But instead of these clichés being a hindrance, they actually serve a purpose—they help. In fact, the audience watching a Spaghetti Western is specifically looking for those exact beats. Without those familiar setups, nobody would bother watching them at all.

On the flip side, the true masters of the craft are only as great as their ability to weave these very tropes into their storytelling. If it weren't for these foundational elements, Bergman would just be a lukewarm stylist—honestly, probably just a mid-tier talent on the level of Gus van Sant. To put it bluntly: films that lack these common threads simply don't hold much value...

You’ve got plenty of material here on this thread.