The movie reminded me of something that has been bothering me lately. The fact that the plots of teen movies today are all the same. So, maybe in one movie they are the popular funny kids in high school. Maybe in another they are the losers, and another they are adults in the working world, such as in How To Lose A Guy In Ten Days, and Two Weeks Notice. Either way, I find myself easily fitting each one of these movies into one of two plots.
The Romantic comedies fit the plot of what I chose to refer to as "N" movies. In N movies, the highs and lows of the relationship, if drawn out, take on the shape of an N. They start out with no feelings for each other. Sometimes they even hate or loath one another. Yet for some reason, they find themselves fitted together in some zany predicament, and as the movie goes on they "fall" for each other. Finally they admit to themselves that they have feelings for the other, yet just as they are about to tell each other, the writer fits in the climax. Something unexpected happens, and they stop seeing each other. The most common reason is a fight over the reason they had begun to see each other in the first place. The abrupt hatred for each other usually involves a noisy break up, and a cold comment to one another. The audience is now supposed to be captivated in the character�s lives, on the edge of their seat hoping they make it through. And. Of coarse they do. The movie commonly ends with them embracing each other, and totally forgetting the fact that tiny little disputes like that will happen more as the relationship grows, and splitting up each time is juvenile. "N" movies include How To Lose A Guy In Ten Days, Never Been Kissed, 10 Things I Hate About You, She�s All That, Two Weeks Notice, and many more.
The second category of chick flick plots are the dramatic romance films. These are much simpler in which they fall in love, and the climax, it seems, the author just gives up and kills one of them. It works every time, leaving tears in every onlookers eyes. Movies in this category include, Here On Earth, and A Walk To Remember.
What both of these plots lack is creativity. I know it�s only a basis and that each is unique, blah, blah, blah. But, I believe that the writers of these films should really stop and wonder if the viewing public will ever tire of this? They are good films, but I can safely say I�m tiring of them. When I walked into How To Lose A Guy In Ten Days, I turned to my friend and told her exactly what would happen. Sure enough, my predictions were correct. As you can see, the recurring use of these plots has taken the unpredictable fun out of most chick flicks.
So, I leave you with this. When you leave a movie, thinking it�s the best you�ve ever seen, think about it a little harder. Was the plot predictable? Could you see each laugh coming "a mile away?" If so, you might want to change your wording. I say, that romance comedies, dramatic romance films, etc, need to have a bit more thought put into them.