When approaching a mid-generation Pokemon title, Game Freak usually tries to find balance by falling back on
an age old trope: releasing a slightly improved copy of the existing two games and calling it a day.
Not exact matches
The story is female - centric, ripped from the headlines, and pits a fiercely loving mother and her vulnerable child against a predatory
older man, all
tropes of the type of TV movie that makes middle -
aged moms cry into their chardonnay.
Even the film's petty villains — a pair of fellow female students narcissistically absorbed in their own beauty in a failed effort to
age up that tired high school
trope — are mean simply for the sake of being mean, not driven by any pathos or motivation beyond Deanna being...
older, I guess?
Screenwriters John Ronson and Peter Straughan (who very loosely based the character on Frank Sidebottom, the comic persona of the late U.K. performer, Chris Sievey, amongst other musicians) are aware of the thin line between madness and genius, but rather than exploit that tired
trope, they use it as a jumping off point to explore issues as inherent to both art and life as identity, voice, creative output, and that
age old question of what it really means to sell out.
The film's plot also feels like a derivative and Goth - infused mash - up of the
age -
old werewolf vs. vampire
trope, mixed with the bullets and leather stylings of The Matrix (as it happens, Underworld's 2003 theatrical release was sandwiched by the two Matrix sequels).
I still enjoyed the first movie more, but that's only because it introduced me to the world and the characters so brilliantly, engaging me in the quirky relationship between boy and dragon, mixing
age -
old tropes with oodles of heart.
Wizards, dragons and political intrigue are all
old hat for the fantasy genre, but few series make
old tropes feel as fresh as «Dragon
Age: Inquisition.»