Thieves (Ocean's trilogy, John Wick), spies (Man From U.N.C.L.E.), and assassins (Mr & Mrs Smith) all know each other and have a code of conduct.

Well, spies that work for major governments do have some rules. That's why they're not just constantly murdering one another like in the movies.

Yes! That's a good one

Did a quick search and didn't see this one:

Bad guy has a gun on the good guy a short distance away. Good guy starts talking to the bad guy in a calm voice while slowly walking towards him, bad guy does nothing and just lets good guy keep walking forward until he's close enough to grab the gun.

Justified toyed with that trope in hilarious fashion. Hit man disguised as a sheriff's deputy shows up to take Boyd Crowder away. Good old Deputy U.S. Marshal Raylan Givens shows up around the same time. Raylan begins to suspect something amiss. Bad guy realizes his ploy is blown and pulls his gun. Raylan outdraws him and blows his ass away and then says "I hope I got THAT right."

There was once an awesome YouTube video of this scene, but it seems to have been removed. Sadface.

EDIT: found it on Facebook: https://www.facebook.com/story.php?s...63489253671556

In movies before everyone had a cell phone:

Person A and Person B are talking on the phone (landline). Person B hangs up often out of anger. Person A immediately hears a dial tone.

And if person A has other people in the room, they keep talking as if person B had not abruptly hung up.

is that not how it works?

Bad guy has good guy disarmed....Bad guy puts down his gun because he wants to settle it with fists, never works out for bad guy.

I dont get this one either. Thats what happened. Unless he means that alarm style beep that would begin after 30 seconds or so. But the dial tone would be heard pretty much instantly

Ymmv but I always hear dead air when the other side hangs up.

When someone hangs up unexpectedly the hung up on party clicks the button thingy repeatedly like that will magically reconnect them.

When the other person hung up I would also hear dead air until the alarm beeping would kick in.

Oh wow I've never heard of that it was always an immediate dial tone for me living in the Midwest and Texas. So not really a movie cliche.

Two characters in foreground having quiet pointless conversation while people way in the background are fighting or something. HAHAHA do you see whats happening in the background!? Thats funny!

Hilarious little known film "The Schmenges Last Polka" has Eugene Levy being interviewed in the foreground while John Candy turns his grill into a raging inferno in the background. I thought it was really well done.

Lol. Posts like these are rare.

How many times have we seen someone holding a gun on someone, but they are too close and look away and have it taken from them?

Burn Notice actually did a good one on this, as Michael said in his VO that you should always stay far away, keep your eyes on the target and your weight on your back foot. But he wanted a guy to try and take his (unloaded) gun so he did the opposite.

Not sure if mentioned already but the upcoming release of Passengers is yet another entry into the extremely tired cliche:

Prissy, upper class rich girl from a good background falls for the poor working class, wrong side of the tracks fella.

She's almost always with some rich jerk guy or horrible family, blue collar dude is able to redeem her and show her how to have fun and enjoy life.

Taps into girl's fantasies about liking their guys a little rough around the edges and dangerous. Taps into guy's fantasies about landing super hot girls way out of their league and playing the savior/protector.

Lady and the Tramp
Grease
Karate Kid
Dirty Dancing
Titanic
The Notebook
Passengers

just the ones that I could immediately think of, there are many dozens of other less notable titles as well.

You basically never see the opposite (prissy rich boy, wrong side of tracks girl)... I think they tried it in Grease 2 and this is the first anyone has spoke of that movie since.

I'm sure this forum could come up with dozens. I can think of Pretty Woman and Trading Places.

Metropolis
Pretty in Pink
Citizen Kane
Not Another Teen Movie
Cet Obscur Objet du Désir
Cinderella

Pretty Woman is definitely a good example where they were able to successfully invert the cliche. She's the one with the heart of gold and he's the one who needs saving from his fuddy duddy life.

True, but it didn't completely fill the cliche, which would've been if he were already with someone else like him, and he has to choose. Sabrina is another movie like Pretty Woman in that regard - Harrison Ford's character was single and really had nothing to lose.

One that successfully does the full inversion is Arthur.

Speaking of Richard Gere, in An Officer and a Gentleman, he comes from working class stock but by the end he's clearly moving up financially and still chooses the mill worker.

Doesn't 50 Shades of Grey have something like that?

Love Story
The Prince and Me (or any of the Cinderella variations)
My Fair Lady (or any of the Pygmalion variations)
Circle of Friends
White Palace
Harold and Maude (more about age, but class is definitely an issue too)
Flashdance? (isn't Michael Nouri rich in that?)

Not trying to counter Cotton's point because there are a lot more in that realm (Great Expectations, all the Romeo and Juliet takeoffs, Some Kind of Wonderful, even Star Wars, etc), but it's not purely a one-way street.

How about Working Girl (1988)? Made around the same time as Pretty Woman. Upper class investment broker (the hot Harrison Ford) from a good background falls for the poor working class girl with the big hair. She saves him from a life with his bony-ass fiance played by Sigourney Weaver.

Like Pretty Woman, both of the characters morph into a better version of themselves by the end of the film, wearing high end designer clothes and losing their rough edges. Does this happen with the films Cotton Hill mentioned, like Titanic and The Notebook?

Yeah Working Girl is a good one. Ford's character isn't super-rich, but the choice between Weaver and Griffith (and her choice between Ford and Alec Baldwin) is definitely class-infused.

The rich heroines in The Notebook and Titanic are both good-hearted from the beginning iirc and don't need to change. It's more about their families' restrictions, though the "bad boy" attraction might be relevant. Danny and Sandy change for each other pretty drastically, though