My Cousin Vinny

Proper procedure.

The correct steps to be taken in the precise order.

Never wavering from the script's strict imposing code.

Inviolable structure.

Airtight renditions.

Vinny Gambini (Joe Pesci) possesses the argumentative wherewithal, the incisive logic reasonably applied to ascertain guilt or innocence, but when it comes to the specific testaments concerning how to traditionally proceed, he's somewhat at a loss, and struggles to acclimatize. 

It's like the stellar unwritten rules which drive unorthodox independent filmmaking, have been transferred to a court of law, in Jonathan Lynn's My Cousin Vinny.

Vinny's held in contempt several times to punish his undisciplined disorienting candour, but he takes it in stride unconcerned with pejorative principled checks and balances. 

It was a different time (1992) breaking down barriers which upheld uptight and rigid formalities, in order to accommodate sociocultural differences which hadn't been raised in plutocratic splendour.

Then again, Lydia Berman in Thunder Force invigorates similar non-linear spirits, perhaps a Foucauldian study needs to be conducted regarding American comedy's progressive intentions. 

A lack of room for alternative dispositions can provoke a cynical malaise, nevertheless, and widespread support for flagrant difference which challenges dismissive pretension. 

Of course codes of conduct need to be respected within reasonable non-farcical bounds. 

But if people possess the content but lack the formality trouble will brew if they're left by the wayside (I'm not writing about myself, I like my jobs and oddball inclinations, but there are people much more ambitious than me who may be looking for answers from rowdier sources).

Accommodation works both ways and peeps can't just say and do whatever they feel like all the time.

But if procedures prevent competent employees from competing because they're not wearing an acceptable tie or discussing esoteric topics, with abstract obscurity and orthodox disdain, doesn't the resultant managerial gene pool banally stagnate, and innovation fail to materialize? 

I imagine it's not like that in many spheres, however, and sometimes I forget the multiple representations of provocative difference found in the credits of Michael Moore films.

Exceptions multitudinously grounding.

Alternative visions materialistically conveyed.

I saw My Cousin Vinny in my youth (at Christmas) and was so impressed with Marisa Tomei (Mona Lisa Vito). 

I was happy to see her nominated for an Oscar too.

And was super impressed when she won. 

*A classic.

Clue

It seems that at one time the Clue board game was so popular that a feature film was compacted to playfully stipulate in tandem.

Murder/mystery perennially brooding shocks cross-stitched semantics airtight, it makes sense to periodically lampoon them with irreverent slipshod proclivities.

I enjoy watching detective drama as inspectors set about a' sleuthing, so why not blend such solemn preferences with carefree yet stilted amusement?

Clue's cheeky insincerity spryly lauds its commercial underpinnings, its lucid recognition of its charter slyly cast consoled ridiculous.

Yet it doesn't shy away from embracing traditional logic, as characters hectically discuss the morbid outcomes of their tether.

While I do enjoy detective fiction, the genre's obsession with vilifying do-gooding, is manifestly disconcerting, I'd argue its narratively pandemic.

Well-meaning communally focused characters are often hypocritically portrayed, or found guilty of improprieties they've kept hidden in the shade.

If you think American film and television is guilty of racist bias, let me introduce you to British crime drama where minorities are so often corrupt.

Courageous women are bound for trouble as are gay people and the otherworldly, let alone anyone introducing something new which conflicts with age old tradition.

I cheer for the do-gooders as I watch but the outcomes are so often grim. The world could use a new Columbo. A self-made lieutenant unconcerned with privilege.

Clue presents a group of strangers being blackmailed by the same man, for social misdemeanours coldly reckoned fibbed offhand.

They come together as a group to delineate strict character, but get along like woebegone curmudgeons none the merrier.

Tricked they've been wry Grenadine their startling frayed pronouncements, ill-considered spoiled and quivered distillates accounted.

Could a feature length film be made based upon a less scandalous game such as trivial pursuit?

It's really quite elementary.

You just answer a random question which then provides direction for the plot and then each subsequent question answered serendipitously transforms it.

The transformations could be genre-based as well in order to inspire homemade postmodernism.

Sports. Literature. Politics. Drama. 

Kitschy campy gold.

At integral multigeneric play.

Indubitably trivial.