Statistics: The best scenic trail

The narration is conducted on behalf of a character whose interpretation of events is distorted, incomplete, biased, or false.

Instead of just killing the hero, the villain embarks on a lengthy explanation of his ingenious plan. This gives the hero time to free himself.

The character begins to pretend to be someone (for the sake of a task, gain, or salvation), but eventually discovers that the fake character traits have become his real ones.

The whole plot is the hero's dying memories, the hero becomes a ghost or it turns out that this main character is not real. The trope allows you to instantly break the viewer's expectations.

A false trail that the author throws at the reader to make him suspect the wrong character.

A detail that seems superfluous, but becomes the key to the solution.

Outsiders who don't get along well with each other, united by a common injury or failure, overcome themselves and succeed/defeat the villain.

The specific sound effect of a scream from the 1951 western "Distant Drums", which is used in almost all films (from "Star Wars" to "Indiana Jones") when someone falls from a height.

A character who is suspiciously perfect: he is handsome, loved by everyone, incredibly strong and has no flaws.

To hack the Pentagon, the character needs to tap on the keys very quickly and loudly and at the end solemnly press Enter.

A child escapes from the horrors of war into the fantasy world of an old manor to an eccentric elderly relative.

If a character coughs into a handkerchief once at the beginning, he is guaranteed to die by the end.

If there is a car chase in the movie, the characters must definitely knock down a fruit cart (most often with oranges or watermelons).

As soon as the character utters this phrase, something terrible immediately happens (for example, a downpour starts or a car explodes).

The characters brush their teeth for two minutes while talking, and they never foam from the paste.

A telephone conversation where the hero repeats everything that is supposedly said to him at the other end so that the viewer understands the essence.

One character is torn between two contenders.

When an author takes a well-known cliche and does exactly the opposite.

A phrase that the villain says to the hero, trying to prove that they are both two sides of the same coin.

An incredibly lucky coincidence that helps the hero in a desperate situation.

Action heroes fire hundreds of bullets from a pistol, which is supposed to have only 8-15 charges, and never reload until the end of the scene.

Attempts to avoid the predicted future become a chain of events leading directly to it.

To show radical changes in character or fate, the heroine (rarely the hero) cuts her hair in front of a mirror.

The character jumps from a height and lands on one knee, resting his hand on the ground.

An old man or a teacher who teaches the hero, and then (almost always) dies so that the hero can act on his own.

The hero walks away from the epic explosion with a slow gait, without even turning around, while everything flies to splinters behind him.

Killing a loved one (usually a lover) solely for the sake of giving the hero motivation to take revenge.

Movie characters almost never say goodbye at the end of a phone conversation. They just hang up as soon as they receive the necessary information.

The hero studies a low-quality photo or video, asks for "Enhance!" and suddenly sees the killer's face in the reflection of a pupil or a chrome door handle.

When a hero is attacked by a crowd of enemies, for some reason they do not attack all together, but politely wait their turn, attacking strictly one at a time.

If the hero comes out of the store with a paper bag, a long French baguette or a bunch of celery is sure to stick out of it. Otherwise, the viewer will not understand that these are products.

An object that everyone is hunting for, but its nature or properties are not as important to the author as the very fact of the chase.

To show the movement of the hero between countries

One character is a sullen cynic, and the other is an incorrigible optimist.

Fictional characters accidentally (or intentionally) encounter real historical figures who do not yet know that they will become great or are already at the zenith of their fame.

The characters are trapped in the same space (in a hut, in an elevator, in the same cabin), and they have to communicate.

When a character openly admits the implausibility, cliche, or strangeness of what is happening in the plot.

The hero does mundane, boring, or repetitive actions, unaware that they are preparing him for some important event, saving the world, or a battle.

A situation where a hero survives in impossible conditions simply because he is in charge and the story will end without him.

Heroes whose romantic relationships are reinforced by perfect coherence in battle or work.

A creature that is supposed to be evil by nature (demon, vampire, orc), but behaves according to the code of honor and sometimes helps the heroes.

The hero knows about the impending catastrophe, but no one believes him, considering him a madman or an alarmist.

To quickly show the coolness of the new villain, he beats up the strongest character in the hero team with one punch.

A character who doesn't have the strength or skills gets into trouble all the time, and the others have to save him, which drives the plot.

The hero commits a chain of small, seemingly random actions, which eventually add up to a grandiose plan.

Murder (or, less often, another crime) occurred in a closed room, where the circle of suspects is limited.

The slowest possible development of the relationship. Sparks fly for hundreds of pages, but the first kiss will happen only at the very end.

When a scientist or expert starts spouting terms, and the main character cuts him off.

The names of the film are heard in the dialogue.

Hitting the camera, the character looks up, "They're coming." It is also used to show the approach of a superior enemy in trailers.

The central antagonist who stands behind all the major conflicts of the story.

The mention of some catastrophic, ridiculous, or improbable event from the characters' past, the details of which are never revealed to the viewer.

The car ceases to be just a means of transportation and becomes an extension of the hero's personality, his main gadget, or even a full-fledged character.

The action takes place in an educational institution, but the learning process itself is practically not shown.

In the chase scene, the characters run past the same flight or the same background elements several times.

At the beginning of the scene, the hero is beaten to a pulp, his face is covered in blood, and in the next scene (after a "day") All he had left was a neat little patch on his eyebrow.

The hero leaves, has already opened the door, but freezes at the last moment and says "By the way ..." (Just one more thing), giving out the most important information.

If the characters need to change clothes or wash in a forest or cave, the camera always finds an angle where the intimate parts of the body are covered with a branch, stick, or shoulder of another character.

Any closed cinema door can be kicked out with one kick or opened with a paper clip in two seconds, even if it is a safe.

No matter which overpopulated metropolis the hero lives in (New York, Tokyo), he always finds an empty parking space right in front of the entrance to the right building.

Fantastic technology or development in the too-near future.

Instead of a long investigation, the hero simply walks around the corner, into the toilet or to the office door, and it is at this second that the necessary information is spoken out.

A three-minute clip with upbeat music that makes the hero the best fighter in the universe.

The hero opens the door of the first—aid kit in the bathroom, brushes his teeth, and when he closes the door, there is a killer or ghost standing in the mirror behind him.