These aren’t featured on the TV Tropes site……yet.
Movie characters driving in the city will get to park wherever they like when they get to their destination.
When you are alone in the back seat of the car, make sure you sit in the middle.
Despite a period of time going by, a person asks something for the audience’s benefit that should have been asked earlier.
Pedestrians during car chases have the world’s best reactions, so don’t worry if you have to drive down a sidewalk.
The person behind the wheel is talking to and looking at their passenger for the entire journey without actually looking at the road, changing gear, signalling etc. (e.g. When Harry Met Sally).
Cars chasing each other in the middle of a city will not suffer enough damage to stop the chase.
People being chased by a car will keep running down the middle of the road instead of ducking in somewhere where a car cannot go.
COMPUTERS & ELECTRONICS:
You can gain access to any information you want by simply typing “ACCESS ALL OF THE SECRET FILES” on any keyboard.
All computers are connected. You can access the information on the villain’s desktop computer, even if it’s turned off.
Some computers also slow down the output on the screen so that it doesn’t go faster than you can read. The *really* advanced ones also emulate the sound of a dot-matrix printer.
All computer panels have thousands of volts and flash pots just underneath the surface. Malfunctions are indicated by a bright flash, a puff of smoke, a shower of sparks, and an explosion that forces you backwards.
People typing away on a computer will turn it off without saving the data.
A hacker can get into the most sensitive computer in the world before intermission and guess the secret password in two tries.
Complex calculations and loading of huge amounts of data will be accomplished in under three seconds. Movie modems usually appear to transmit data at the speed of two gigabytes per second.
When the power plant/missile site/whatever overheats, all the control panels will explode, as will the entire building.
Incriminating evidence can be found either as photograph number four in a stack, or in the next to bottom drawer.
If a character uses martial arts rather than a weapon, his opponents will always face him one-to-one. Spare bad guys may dance around the fight taunting our hero, but none will engage until his predecessor has been disposed of.
Two guys or a bunch of guys go at it, repeatedly bashing each other in the face with massive blows, or hitting each other with chairs, sticks, refrigerators, whatever — and they go one doing this, sometimes for minutes at a time.
If the hero has a psychological/physical problem which has prevented him from effectively dealing with problems, you can rest assured that this problem will disappear at an opportune time.
The hero always misses the villain leaving the scene by seconds.
Stripping to the waist makes you invulnerable.
People who hear something weird outside will go OUT to look, even if they know there’s a homicidal maniac on the loose.
People never get out of the house when there is obvious danger there (e.g. ghosts or murderers).
The hero lives in a city working at some okay, but not particularly high-paying job, and yet he or she has a roomy apartment filled with nice stuff, generally with a good view, and sometimes a nice, romantic rooftop to go to.
When an intruder is in the house, the occupant will snuck along a wall with her back pressed to it tightly and her arms out a bit from his body, palms flat against the wall.
When a hero gets a bloody nose, he’ll stop bleeding almost immediately.
When a hero suffers through car chases and crashes, he never has to worry about unfelt spinal injury from impact.
Protagonistic characters that get shot will never go into shock.
A ringing phone is usually picked up within 3 seconds.
Don’t give the person on the other end of the phone time to say what they have to.
When a phone line is broken or someone hangs up unexpectedly, communication
channels can be restored by frantically beating the cradle and repeating “Hello?”
The duration of a phone call is smaller than the longevity of what the receiver recites.
All houses have phones next to the bed.
Always knock over the phone if it wakes you up. If you are expecting a call, make sure that you pull the covers up completely over your head so that knocking it over becomes easier.
The police will never question the hero, even if he kills lots of bad guys.
Time will stand still when when the hero is in the presence of a company logo.
RADIO & TV:
A character turns on the radio (or TV) just in time to hear a special announcement or some important news item. Then turns the radio (or TV) off.
After the villain knocks the hero unconscious and leaves the scene, this person will regain consciousness then be more determined to retaliate.
The bad guy has a musclebound sidekick who has some sort of trademark gimmick that he or she uses to eliminate opponents. You must kill or decommission this brawny baddy by forcing a backfiring of this trademarked gimmick. If the builder is dispatched by a different method, he/she is not dead. Don’t assume that anyone is dead unless their death was spectacular.
Despite the bad guy killing his henchman for failing, he never seems to inspire mutiny.
In a mighty struggle, and at the appropriate time, the hero can become inspired (usually by either an insult from the bad guy or a look of faith from the love interest) with strength enough to force the bad guy into/onto/under/in front of the aforementioned object.
Bad-guy hand grenades make noise and smoke, but no real damage; good-guy hand grenades are devastating but selective; they will destroy tanks, but won’t hurt the thrower, even if he drops one on his toe. Bad-guy grenades used by good guys become good-guy grenades, and vice versa.
When the villain runs out of bullets, he’ll throw away his gun. When the hero does so, he’ll conveniently come across another.
Machine guns submerged underwater for a long time won’t jam or misfire when the hero pops up to use them.