Handy list. I'll print, distribute and acknowledge.

For about a year the top of our whiteboard read "WAR ON CLICHE". You know, 'get a room', 'trouble in paradise', that kind of stuff. We cleaned it off at Christmas break but the war still rages on. And against men sounding like chicks. My pet hate.

Good, interesting post.
But: I often object to blanket condemnations of expositional dialog, or proclamations extolling the virtues of subtext over all else.

Your dialog examples here prove this out: they are all good, evocative, and meaningful -- but the best is from the sheriff, and it is nothing if not on-the-nose bald exposition! It works, it's dramatic, and sometimes -- even most of the time -- people do just come out and say what they mean in no uncertain terms.

BTW, I've been reading your blog for just a few months and want to say I really appreciate it: lots of thoughtful, useful material. Thanks.

@Paul Worthington: Of course, you are right about blanket statements re exposition and subtext. Having taught screenwriting for nearly a decade and read hundreds of scripts from my students, if I'm guilty of overstating the importance of subtext - it's for a reason, if you catch my drift.

The sheriff's side is exposition, yes. It's also great exposition (basically laying out one major theme of the movie) stated in an interesting situation: He is sitting in a chair, demanding that Butch and Sundance tie him up so that it will look like they are his foes, not friends.

So I think the point still stands: Look for ways to 'dress up' exposition so that it's entertaining.