I think these layouts are a good blueprint on how to invent new characters. These are the stereotypes of BLAND characters. Hell, I just added a sexually charged fat guy ladies-man type character to my outline because of it...

You could argue that the Russell Crowe character in The Next Three Days illustrates a real man (as in authentic real life ordinary man) being forced into the role of movie stereotype (competent action man). The movie doesn't quite pull it off (I think his transition is a little too easy)but it is a start against the usual sad stand ins for real men.

Maybe its best to use these archetypes as "warning thin ice" signs....

My main reaction to it was that I found the language about overweight men extraordinarily ugly - there were several nuggets, my "favorite" was -

"Maybe these recent tubs of guts exist to reassure Americans of their own ever-increasing waistlines..."

As a "tub of guts" who has long struggled with his weight, maybe I'm being oversensitive, but I couldn't "stomach" reading any further.

While I believe that overweight women probably face more prejudice and sexism than overweight men, I'm sure of one thing - A.O. Scott wouldn't have dared to describe overweight women in these terms.

"Just one more thing - "

Manohla Dargis should also get "credit" for this article.

@DeafEars: Thanks, don't know how I missed Dargis in the byline. Will correct the OP.

Readers think in stereotypes. The trick is to create characters that defy the stereotypes, hopefully with a sense of realism. Do that and you've got something. Unfortunately, catergorizing people is an ongoing problem not only in life but and in getting someone to understand your screenplay. If they don't "get" the characters, they won't get into the story.

The reason male roles are "often missing in action is the regular guy who wakes up every morning, kisses his wife (or husband) and manages not to do anything especially silly or heroic in the course of his working day" is obvious: there's no story in that. Until he does something silly or heroic, there's no reason to care.

Also, missing one of the most obvious modern archetypes: the working man. The man who puts in overtime at his job, and tried to climb the ladder at work to provide for his family only to find he either is being surpassed by his wife, or divorced by her because he's never around.

the list misses out on the old man characters, either as the wise or charmingly perverted aides or as the reluctant cynical hero who's seen too much but can still hook a babe.

A.O. Scott and Manohla Dargis write "The Hero" as if male relationships have only one definition and it must be sexual. Their misanthropy is as humorless and juvenile as the films they reference.

Foreign film is chock full of regular guys. As in the films of Patrice Laconte: Man on the Train, My Best Friend, and Intimate Strangers.