MY THEORY ON PARTICIPLES
I have a theory about movie titles. Moviemakers and screenwriters should avoid participles. Viewers should avoid Saving Silverman, Stealing Harvard, Serving Sara. What is it about that tell-tale "ing" that promises a cinematic night of clichés, lame premises, and contrived plotting (think Saving Private Ryan)? But let's not blame that "ing," which is useless, orphaned even, on its own. And "ing," as it appears in gerunds, is acceptable. Swimming Pool, The Killing Fields, The Unbearable Lightness of Being. But there is something irritating about the use of participles in movie titles; something about its existence as a verbal adjective, sharing the characteristics of both a verb and an adjective, as if it were an android assuming the powers of both Superman and Aquaman. Some people will read this and respond, "You know nothing, sir!" (They'll spit on me accidentally as they say this). "What about Waking Ned Devine? Irish movie, can't go wrong. What about Raising