Movie Quotes - Famous Movie Quotes

127 Hours (2010) Quotes

noreply@blogger.com (Unknown) — Tue, 29 Mar 2011 04:47:00 -0700

Movie quotes:
"Did I say the weather is great? Well, it is. Though flash floods potential is still present. There's four-prong major canyons upstream from me that all converge in this 3 foot wide gap where I am. The rock I pulled down on top of me, it was put there by flood. Still, I'd get a drink."
- Aron Ralston

At a glance:
ataglance

Our review (with spoilers):
Aron Ralston (James Franco) is an outdoor adventurer (you know, mountain biker, climber, canyoner, and general risk taker) who lives life for the rush of experience and sees little need to maintain relationships. It’s not that he’s a bad person – he just doesn’t see the value of parents or girlfriends or mates. So when his right arm is pinned benath a boulder while he is canyoning in a remote area, no one knows he is there. He spends the next 127 hours trapped, reflecting on life, and trying to use his ingenuity and limited on-hand tools to free himself.

Danny Boyle stamps the film with his inimitable style, but still allows the story to stand for itself. James Franco delivers an impressive performance. Based on a true story, the real Aron Ralston is briefly featured at the end of the film.

Rating: 2.75 of 4

Other reviewers said:
"As a follow-up to Slumdog Millionaire, 127 Hours shows Danny Boyle at the top of his form -- it's not a story many filmmakers would want to tackle, and few would handle it as well."
- David Stratton (At the Movies [Australia])

"It doesn't matter how disarming Franco's single-handed performance is; there is simply not enough dramatic meat on the bones of Ralston's true story to distract us from where it is heading."
- Anders Wotzke (Cut Print Review)

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Catfish (2010) Quotes

noreply@blogger.com (Unknown) — Tue, 29 Mar 2011 04:44:00 -0700

Image by Getty Images via @daylife

Movie quotes:
"They used to tank cod from Alaska all the way to China. They'd keep them in vats in the ship. By the time the codfish reached China, the flesh was mush and tasteless. So this guy came up with the idea that if you put these cods in these big vats, put some catfish in with them and the catfish will keep the cod agile. And there are those people who are catfish in life. And they keep you on your toes. They keep you guessing, they keep you thinking, they keep you fresh. And I thank god for the catfish because we would be droll, boring and dull if we didn't have somebody nipping at our fin."
- Vince Pierce

At a glance:
This documentary explores the hidden secrets behind a Facebook friendship between a New York photographer and an eight year old girl from Michigan

Our review (with spoilers):
Nev, a New York photographer, has a dance photo published in a major magazine. Soon after, he receives a wonderful painting of his photo in the mail. The painting was done by Abby, an eight year old girl from Michigan. Soon Nev is corresponding virtually (through email, Facebook, and Twitter) with Abby, her mom Angela, and her sexy half-sister, Megan. Nev and Megan are mutually attracted and begin an on-line relationship, with both of them looking forward to the day when they can meet. Megan, also a talented artist, uploads a couple of songs written especially for Nev. But an internet search reveals that the songs were written and sung by somebody else. Soon Nev discovers that all the talk of Abby’s various successful gallery showings were also fabricated. Nev is stunned and angry, but since he is now in the middle of a documentary about the whole situation, he agrees to go to Michigan to find out exactly what is real and what is not.

Soon Nev finds out what astute viewers might suspect: there is only one person behind this ruse that exists: Angela. She did the artwork; she changed her voice to be Megan, and she did the paintings. Nev and crew spend a day with her, and then Nev gently confronts her and gets most of the true story. Angela, her dreams shattered and her life burdened by the care of her new husband’s two extremely retarded twin boys, escaped into multiple personalities and used fragments of herself in her youth to woo Nev.

For his part, Nev is grateful to find out, and somehow these two people form an unlikely (Facebook) friendship. But the pain in their eyes is unmistakable.

This is a wonderful documentary, created on a very low budget. Based on social media, it makes clever use of Google Earth and Google Maps to augment the story. There is a small niggling factor that this may not be completely what it seems – why did they start filming so early in the story? – but the film-makers swear that it is 100% true.

Rating: 3.5 of 4

Other reviewers said:
"The great thing about Catfish is the compassion it shows towards everyone involved. It tries to reach an understanding of the truth but without mocking or judging."
- Allan Hunter (Daily Express)

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The Enchanted Cottage (1945) Quotes

noreply@blogger.com (Unknown) — Tue, 29 Mar 2011 04:41:00 -0700

Image via Wikipedia

Movie quotes:
"You’ll always be beautiful to me."
- Oliver (to Laura)

At a glance:
This simple parable about inner beauty and love is told with elegance and grace

Our review (with spoilers):
Boy, did they know how to make movies back then! No complicated plots, no pyrotechnics, no messing with the timeline – just a very simple and elegant parable about how it’s what’s on the inside of a person that counts, and not one’s outward appearance.

Laura (Dorothy McGuire) is a sweet, ‘homely’ girl without a family who is taken in by Mrs. Minnett (Mildred Natwick), a widower who owns and occasionally rents an old cottage in the small town. The cottage is all that is left of a once large castle that was owned by a British nobleman. The castle burned down, leaving one wing intact. This quaint wing had, by tradition, been lent to newlyweds. Now, Mrs. Minnett is ready to rent again. A young couple, Oliver (Robert Young) and Beatrice (Hillary Brooke) are about to be married and plan to spend their honeymoon there. But when Oliver is called to war and is shot down and disfigured, their marriage plans end. Oliver returns to the cottage by himself to hide away, but he is healed by the kindness of Laura and the guidance of neighbor Major John Hillgrove (Herbert Marshall), another war veteran who lost his sight in action.

Oliver and Laura’s friendship leads to marriage. Their bond, originally more for convenience, increases in intensity and sincerity until the two newlyweds see an amazing physical transformation in themselves. Laura becomes as beautiful as a movie star, and Oliver’s disfiguration disappears. At the same time, they become happy, confident, and unburdened. Their fantasy is briefly shattered by Oliver’s overbearing mother, but with John’s help, the two lovers quickly realize that their true gift is how beautiful their love makes them feel to each other.

Movie making in this period was not only about entertainment; it often was a gentle way to give advice or teach important life lessons. That is the inner beauty of this film. It may not be perfect, but its heart is beautiful.

Rating: 3 of 4

Other reviewers said:
"John Cromwell’s moving romantic fable celebrates the transforming power of love but also exposes the disfiguring force of pity."
- J. R. Jones (Chicago Reader)

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Frozen (2010) Quotes

noreply@blogger.com (Unknown) — Tue, 15 Mar 2011 21:24:00 -0700

At a glance:
Frozen takes a great, simple concept (three people stranded on a chair lift) and squanders it with bickering and plot contrivances

Our review (with spoilers):
There’s nothing like a pure concept movie. And here’s the concept: two bratty skiers and one nice girl bribe their way onto the chairlift rather than pay full price for lift tickets. With time and light running out, they negotiate one last lift ride. The ride operator is called away and forgets all about them, the power is shut off, and the ski resort is closed down on Sunday night, to re-open five days later – and the three people are stranded on the chairlift. That’s it.

Despite being stranded and facing death, these three still find the time to argue incessantly before doing dumb things. There’s the usual angst about the girlfriend ruining the lifelong friendship between two guys. The girl (Emma Bell), very sweet before she gets stranded, proves that she was well cast: her scared yelling voice is extremely annoying. Consequently, the guys urge her to stop yelling. Stop yelling? They are stranded on a chairlift! I’d say yelling is one of few decent options they have left!

The other option is to jump. The boyfriend does this, but does so in a way that his fall is not broken at all. The result? He breaks both his legs (with many shots of the bloody bone protruding from one of them), and is soon surrounded by a pack of wolves and eaten. Yes, wolves. This might be funny if the movie weren’t being irresponsible to propagate this gross demonization of wolves. Wolves have never attacked a human – except, of course, in silly movies.

The boyfriend’s friend and the girlfriend argue, then bond, but despite the cold, they do not huddle close together – and huddling is definitely a good option if stranded in cold weather. Instead, after surviving one night, the guy climbs along the cable, shredding his hands, but somehow, unbelievably, continuing anyway, reaches a pole, climbs down, and ski-boards down the hill, pursued by wolves. He is never seen again, so you can assume the worst.

The girl takes advantage of an unraveling cable to reach the ground. She is confronted by bloody-nosed wolves but they spare her. She crawls to the road and is rescued by a passing motorist. I kept thinking the motorist was going to be a serial killer, but he was just a nice guy driving her to the local hospital. The ending feels a little bit like the idea bin was empty, so time to end the movie.

The film is flawed in so many ways (there isn’t really enough there to fill 90 minutes) and could have been much better, but it’s still fun to watch.

Rating: 2 of 4

Other reviewers said:
"A stuck chairlift just doesn't exert the same primal terror as a roiling sea, and to make up the difference, Green would need a better cast and sharper dialogue than he has here."
- Cliff Doerksen (Chicago Reader)

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Scott Pilgrim vs The World (2010) Quotes

noreply@blogger.com (Unknown) — Tue, 15 Mar 2011 21:22:00 -0700

Movie quotes:
Wallace Wells: If you want something bad, you have to fight for it. Step up your game, Scott. Break out the L-word.
Scott Pilgrim: Lesbian?
Wallace Wells: The other L-word.
Scott Pilgrim: ...Lesbians?

"You made me swallow my gum! That's going to be in my digestive tract for seven years!"
- Gideon Gordon Graves

Stacey Pilgrim: I mean, did you really see a future with this girl?
Scott Pilgrim: Like... with jetpacks.

Envy Adams: You are incorrigible.
Todd Ingram: I don't know the meaning of the word.
[Text on screen]: He really doesn't.

At a glance:
Michael Cera is wonderful as a neurotic nerd who fights like a video game character against the evil ex’s of his new girlfriend

Our review (with spoilers):
Extremely original film, that obviously feels faithful to the source graphic novel, about a nerdy bass player (the inimitable Michael Cera) who has to fight seven of his new girlfriend’s ex’s if he wants to be with her. Complicating things are his other current high school girlfriend, his band members (which also include an ex-girlfriend), and his gay room-mate, with whom he shares a tiny apartment, a single bed often filled with his room-mate’s boyfriends. Fights, music, and characters are enhanced by words describing the sounds or by on-screen captions. In some ways, it is almost a perfect film: geared toward a young audience, but accessible and vibrantly enjoyable to anyone., with too many funny and memorable lines to remember.

Rating: 3 of 4

Other reviewers said:
"Some might see it as a great hipster parable, a postmodern epic for the Nintendo generation; I think it's simply a triumph of dizzying cinematic style, and it never misses a beat."
- Josh Hurst (Christianity Today)

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Black Kiss (2004) Quotes

noreply@blogger.com (Unknown) — Tue, 15 Mar 2011 21:19:00 -0700

At a glance:
This Japanese horror/drama has enough style and quirky acting to overcome its convoluted plot

Our review (with spoilers):
My favorable opinion of Black Kiss is far from subjective. It is skewed by my appreciation for unusual, thoughtful films. It is enhanced by my fond memories of my brief visit to Japan in 1999, and for my desire to see more of Tokyo and Shinjuku again. Blessed with strange, occasionally stylistically fast editing, and cursed with an almost fanatical tortoise-like speed in revealing its story, Black Kiss is a study in contrasts. Amid the photogenic doll-like beauty of young Japanese women/models, there is a sickening murder mystery, abruptly interrupted by gruesome murders. A man’s bloody body is shredded and spread like a paper flower. A woman’s still living torso is shipped in a box. A killer commits a murder, then performs a Houdini-esque escape from a locked room. A tormented former model takes a naïve young newcomer under her wing, and either curses her or blesses her. A strange paparazzi stalks the newcomer.

I particularly enjoyed the unusual, understated performance by Shunsuke Matsuoka as junior detective Yusuke Shiraki. He discovers information about the case the often disgusts or confuses him, causing him to shrink into himself, his head retreating into his neck much like the tortoise that prowls Kasumi’s apartment.

On the negative side, this is a long film that ultimately makes no sense. It’s a triumph of style – and good acting – over plot.

Rating: 3 of 4

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Please Give (2010) Quotes

noreply@blogger.com (Unknown) — Tue, 8 Mar 2011 11:33:00 -0800

At a glance:
Writer/director Nicole Holofcener expertly creates characters that portray the difference between caring, pity, and indifference in this gentle New-York-based comedy/drama

Our review (with spoilers):
Wonderful slice of life dramedy about Kate and Alex (Catherine Keener and Oliver Platt), a middle aged couple who live quite nicely by buying furniture from the children of recently deceased New Yorkers. Kate’s got a conscience, however, that is being exposed by her incessant profit-taking. It isn’t helped when she and Alex buy the next door apartment and have to deal with the ‘direct’ elderly woman (Ann Morgan Guilbert) who lives in it, along with her very different twenty-something daughters.

There are poignant moments as well as some laugh out loud ones in this gentle drama. Keener and Platt are both wonderful, but it was especially great to see Guilbert (who started her career long ago as Millie Helper on The Dick Van Dyke Show) still going. There also good supporting work from Rebecca Hall, Elise Ivy, and Sarah Steele. This is my first acquaintance with writer/director Nicole Holofcener, and it was a pleasant one.

Rating: 3 of 4

Other reviewers said:
"Nicole Holofcener, who writes the most interesting female characters in the movies, delivers another dazzling role to her muse, Catherine Keener, in Please Give, a delightfully dry dramedy about guilt."
- Roger Moore (Orlando Sentinel)

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The Town (2010) Quotes

noreply@blogger.com (Unknown) — Tue, 8 Mar 2011 11:27:00 -0800

Movie quotes:
Doug MacRay: I need your help. I can't tell you what it is, you can never ask me about it later, and we're gonna hurt some people.
James Coughlin: ...Whose car we takin'?

At a glance:
Ben Afflect directs and stars in this effective Boston-based bank robber tale

Our review (with spoilers):
It’s difficult to take an action film about four tough guys from Boston who rob banks and meld it with elements of poetry, beauty, and love, but actor/director/co-writer Ben Affleck accomplishes this. He casts and directs himself as Doug, the gang leader who is all shades of gray. He has no qualms about stealing from banks and vans, but he tries to do it without hurting anyone. At the same time, he tolerates Jim (Jeremy Renner), whose violent fuse seems to erupt every time they pull a job. There are good reasons why Doug tolerates Jim. In fact, the hallmark of this script, where characters sometimes seem to be out of character, is the care in formulating a reason for this. For example, after the first bank job, Doug protects the bank manager, Claire (Rebecca Hall) from the harassment she would endure if Jim is allowed to pursue that loose end. Doug goes much further than that, and soon he and Claire are in a serious relationship.

Pursuing the thieves is a relentless FBI agent Adam Frawley (Jon Hamm), who is a tough guy in his own right. The script presents a series of mini-battles and conflicts between Adam and Doug, Doung and Jim, Doug and Claire, Doug and Fergus (Pete Postlethwaite, playing a local tough guy), and Doug and his incarcerated father (Chris Cooper, in a small but effective role). This is a stellar cast, circling around a solid performance by Affleck, who proves that his earlier directorial success with Gone Baby Gone was not a fluke.

Rating: 3.5 of 4

Other reviewers said:
"In lesser hands, the central relationship might not have worked; but Affleck and Hall make it completely believable, adding to the texture of this classy thriller."
- David Stratton (At the Movies)
Posted by theZoo at 4:09 AM 0 comments
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Sin City (2005) Quotes

noreply@blogger.com (Unknown) — Tue, 8 Mar 2011 11:23:00 -0800

Dwight: I'm Shellie's new boyfriend and I'm out of my mind. If you so much as talk to her or even think her name, I'll cut you in ways that'll make you useless to a woman.
Jack Rafferty: You're making a big mistake, man. A *big* mistake.
Dwight: You made a big mistake yourself... you didn't flush.
[Dwight shoves Jackie Boy's head into a toilet filled with urine]

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Marv: I love hitmen. No matter what you do to them, you don't feel bad.

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[a grenade lands at his feet]
Dwight: And everything seemed to be going so well.

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[repeated line]
Dwight, Gail: Yeesh.

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Dwight: Yeesh!

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Wendy: [to Marv] You can call me Goldie.

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Dwight: The Valkyrie at my side is shouting and laughing with the pure, hateful, bloodthirsty joy of the slaughter... and so am I.

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Marv: This is blood for blood and by the gallon. These are the old days, the bad days, the all-or-nothing days. They're back! There's no choice left. And I'm ready for war.

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Marv: I had a fight with some cops.
Lucille: Didn't happen to kill any of them, did you?
Marv: Not that I know of, but they know they been in a fight, that's for damn sure.

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Marv: It wasn't you losers who killed Goldie. The guy who did that knew what he was doing. Still, you got to have something to tell me. Like who it was who sent you.
[Marv pistol whips him]
Marv: [pause]
Marv: I don't hear you giving me any name, jerk. Guess when I shot you in the belly, I aimed a little too high.
[shoots him in the crotch]
Marv: You keep holding out on me like this, and I'm going to have to get really nasty.
Stan: It was Telly Stern passed me the order. Runs the tables over to the Triple Ace Club.

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Ronnie: Remember - we don't have to deliver every last inch of the man, Brian!
Brian: You're right, Ronnie - lend us your knife.

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Marv: Modern cars - they all look like electric shavers.

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Cardinal Roark: Kevin? Is that you?
Marv: [holding up Kevin's severed head] What's left of him, anyway. The dog ate the rest.

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Cardinal Roark: Will that bring you satisfaction, my son? Killing a helpless, old, fart.
Marv: Killing? No. No satisfaction. Everything up until the killing, will be a gas.

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[last lines]
The Salesman: Care for a smoke?

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[narration]
Marv: The night's as hot as hell. It's a lousy room in a lousy part of a lousy town - I'm staring at a goddess. She's telling me she wants me. I'm not going to waste one more minute wondering how I've gotten this lucky. She smells like angels ought to smell, the perfect woman... the Goddess. Goldie. She says her name is Goldie.

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Nancy, Age 11: They won't let me testify. I told the cops that you saved my life and they just acted like I was crazy. They talked my parents into keeping me away. They said that you done things that you didn't do. I told them that you saved me from that Roark creep, but they won't even check me out to see if I'm still a virgin. I'm still a virgin, still alive...thanks to you. They got it all backwards.
John Hartigan: Sometimes the truth doesn't matter like it ought. But you'll always remember things right. That's gonna mean a lot to me. But stay away, Nancy. They'll kill you if you don't stay away. Don't visit me. Don't write me. Don't even say my name.
Nancy, Age 11: Maybe you won't let me visit, but I'll still write to you, Hartigan. I'll sign my letters "Cordelia." That's the name of a really cool detective in books I read. I'll write to you every week...for forever.
John Hartigan: Sure, kid. Now run on home. It's not safe for you here.
[Nancy walks away]
John Hartigan: Bye, Nancy.
[Nancy turns around at the door]
Nancy, Age 11: I love you.

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Marv: She smells like angels ought to smell. The perfect woman. The goddess.

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Cardinal Roark: What the hell do you know...
Marv: I know it's pretty damn weird to eat people.

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John Hartigan: An old man dies. A young girl lives. A fair trade. I love you, Nancy.

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Marv: I had to fight some cops.
Lucille: Oh, that's lovely. You didn't happen to kill any of them, did you?
Marv: Nah, I don't think so, but they know they been in a fight, that's for sure.

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Senator Rourk: Tell anybody the truth and they're dead!

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[Dwight is driving to The Pits]
Jack Rafferty: ...sccaught you ssmokinggthere, bud.
Dwight: You shut the hell up, Jackie-Boy. You're dead. I'm just imagining this, so shut the hell up.
Jack Rafferty: ...Hntells you somethin 'bout your sstate a' mind don't it?... Ss'got you hearin things'got yer nerves shot. S'got you ssmoking... You know it's truuuuuuue nobody ever really quitsss... Smoker's a smoker when the chips're downn and your chips're down, pretty much
Dwight: I'm fine, you shut the hell up.
Jack Rafferty: Will ya look at thaat! Oooooh, those hookers let ya dowwnn hehehehe... What're you gonna do when ya run outta gas? Call Triple A? You ssucker for the babes, you... You ain't even gonna make itt to The Pitss.
Dwight: You shut the hell up... I'll make it.
Jack Rafferty: Not unless you keep your eyess on the road, sshugar-pie...
[shouts]
Jack Rafferty: Watch it!
Dwight: [Dwight swerves to miss an oncoming car. Jackie-Boy falls onto Dwight's arm, leaning on him]
Jack Rafferty: Ahh this is grrreatt, s'just like being in a buddy movie. Heheheheh...
Dwight: Shut Up!
[flings Jackie-Boy off of him]
Jack Rafferty: Hehehe
[cop on a motorcycle follows them]
Jack Rafferty: Oh, you're screwed. It's over
[lights cigarette]
Jack Rafferty: You're flushed.
Dwight: This time I can't bring myself to tell him to shut up. Sure he's an asshole... Sure he's dead... Sure I'm just imagining that he's talking. None of that stops the bastard from being absolutely right. I don't have a chance in hell of outrunning this cop. Not in this heap. The only question left is whether I'm gonna kill him or not. Tough call. For all I know, he's an honest cop, regular guy. Working stiff with a mortgage, a wife and a pile of kids. My hand moves all on its own, sliding on of my guns to my lap and thumbing back the hammer. I don't know what to do...
Jack Rafferty: You better stopp, you're making him mad.
Dwight: ...Whatever you say...
[slams on the brakes, smashing Jackie-Boy's head into the dashboard]

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Yellow Bastard: [on the phone] And it'd better be perfect or I'm gonna call my dad!

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Yellow Bastard: [to Hartigan] My dad - I'd love him if I didn't *hate* him! He spent a fortune hiring every expert on the planet to grow back that equipment you blew off between my legs! He succeeded, although, as you can see, there were side effects...

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Yellow Bastard: [referring to 19-year-old Nancy] A little old for my taste, but I can forgive that just this once!

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Wendy: You sat there and took it... when you could've taken my gun away from me any time you wanted to...
Marv: Sure, but I thought I might be able to talk some sense into you. And I probably would've had to paste you one, getting the gun and I don't hurt dames.

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Dwight: It wasn't "Stop." Shellie wasn't saying "Stop." If I had waited and listened to her, I would've known. I could've warned the girls to go easy. To settle for scaring them off. Shellie didn't say "Stop," she said "Cop." He's a *cop*. Detective Lieutenant Jack Rafferty. "Iron Jack" the papers call him. A goddamn *hero cop*

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Marv: That's the thing with dames, sometimes all they gotta do is let it out and a few buckets later there's no way you'd know.

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John Hartigan: And after I pull off that miracle, maybe I'll go punch out God.

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Dwight: Get that gun out of my face, Gail.

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Marv: [at his own execution] Would you hurry it up? I haven't got all night.

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Dwight: My warrior woman. My Valkyrie. You'll always be mine, always and never. Never. The Fire, baby. It'll burn us both. It'll kill us both. there's no place in this world for our kind of fire. Always and never. If I have to die for you tonight, I will.

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Marv: I'll stare the bastard in the face as he screams to God, and I'll laugh harder when he whimpers like a baby. And when his eyes go dead, the hell I send him to will seem like heaven after what I've done to him.

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Brian: Want the head there, sweetheart? Come and get it!
[Dwight jumps into the sewer, guns blazing]
Brian: I coulda put a bullet in your ear just now, laddy, if I hadn't gone off and got me revolver all wet and useless.
[big explosion]
Brian: Better come clean with ya now, sweetheart. That was an outright lie I was giving ya about me revolver.

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Marv: I check the list. Rubber tubing, gas, saw, gloves, cuffs, razor wire, hatchet, Gladys, and my mitts.

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Dwight: Most people think Marv is crazy. He just had the rotten luck of being born in the wrong century. He'd be right at home on some ancient battlefield swinging an axe into somebody's face. Or in a Roman arena, taking his sword to other gladiators like him. They woulda tossed him girls like Nancy back then.

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[voice over]
John Hartigan: I take out his weapons.
[shoots Junior's hand]
John Hartigan: [pauses] Both of them.
[shoots Junior's groin]

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Gail: [to the Oldtown Girls] We'll fight the cops, the mob, and anybody else who tries to move in on us. We'll go to war.
Dwight: Don't be stupid, Gail. Get me a car.
Gail: Who do you think you are? You got what you wanted out of us.
[Gail puts the gun to his face]
Gail: You got what you wanted out of me.
Dwight: If I don't make it back, you can have your war.
[Dwight and Gail kiss]
Dwight: [to Miho] get me a hardtop with a decent engine and make sure it?s got a big trunk.
[to Gail]
Dwight: I love you baby.
Gail: Always and never.

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[repeated line]
Marv: That there is one damn fine coat you're wearin'.

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Marv: I know it's pretty damn weird to eat people.

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Priest: ...ask yourself if that corpse of a slut is worth dying for.
Marv: Worth dying for.
[shoots priest]
Marv: Worth killing for.
[shoots him again]
Marv: Worth going to hell for.
[shoots him again]
Marv: Amen.

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Dwight: She doesn't quite chop his head off. She makes a Pez dispenser out of him.

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Dwight: Miho. You're an angel. You're a saint. You're Mother Teresa. You're Elvis. You're God. And if you'd shown up about ten minutes earlier, we'd still have Jackie-Boy's head.

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Dwight: I tell little Miho what has to be done. Then I?ll make the most important phone call in my life.

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Marv: He never screams. Even after the dog has its fill and his guts are hanging out, he never screams.

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John Hartigan: When it comes to reassuring a traumatized 19-year-old, I'm about as expert as a palsy victim doing brain surgery with a pipe wrench.

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John Hartigan: There's wrong, and there's wrong, and there's *this*.

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Stuka: [after getting shot with an arrow] Hey... Will ya look at that? It's right through me. Guys, look. It's cut a hole right through me.
Schutz: There's something wrapped around it. Some kind of note.
Manute: Give it to me.
Stuka: Guys, this is starting to really hurt. Just look at it. It's poked a hole right through me. Guys?
Manute: [reading the note] McCarthy, you fool.
Stuka: Guys, don't you think maybe somebody oughta call a doctor for me or something? This isn't the kind of thing you just ignore, guys.
Manute: Out back. Everyone. Bring the women.
Stuka: Guys?

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Marv: Wait a second. Why'd she call you Wendy?
Wendy: Because that's my name, you ape. Goldie was my sister. My twin sister.
Marv: I guess she was the nice one.

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Marv: [to Kevin] I got you now, ya little bastard. Let's see you hop around now.

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[Marv?s last line]
Marv: Is that the best you can do, you pansies?

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Dwight: Deadly little Miho. She won't let you feel a thing unless she wants you to. She twists the blade. He feels it.

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John Hartigan: Aim careful, and look the devil in the eye.

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Becky: I don't do group jobs.
Jack Rafferty: Come on, get in the car, baby. We'll just talk. It'll be nice.
Becky: I don't do talk jobs either.

--------------------------------------------------------------------------------
Jack Rafferty: Come on in the car, baby.
Becky: I'm sorry. I do the day shift and it's been a long day. Besides, I don't do group jobs.
Jack Rafferty: Come on in and we can just have a nice talk.
Becky: I don't do talk jobs either.

--------------------------------------------------------------------------------
[after Jackie-Boy's head explodes]
Manute: No, McCarthy, you shit!

--------------------------------------------------------------------------------
John Hartigan: Skinny little Nancy Callahan. She grew up. She filled out.

--------------------------------------------------------------------------------
Marv: I'm on my feet for about ten minutes before the cops kick them out from under me. They don't ask me any questions. They just keep knocking the crap out of me and waving a confession in my face. And I keep spitting blood all over it and laughing at how many fresh copies they come up with. Then along comes this worm assistant district attorney who turns the recorder off and says if I don't sign their confession, they'll kill my mom. I break his arm in three places and I sign it.

--------------------------------------------------------------------------------
Marv: Hell's waking up every goddamn day and not even knowing why you're here.

--------------------------------------------------------------------------------
John Hartigan: [to Nancy] Whatever he does you: don't scream.

--------------------------------------------------------------------------------
Marv: You can scream now if you want.

--------------------------------------------------------------------------------
[Hartigan is on his way to go save a girl from a rapist]
Bob: I'm gonna get on the horn and wait for back-up. We're gonna wait for back-up!
John Hartigan: Sure, Bob. You'll call for back-up. And we'll sit on our hands while that Roark brat gets his sick thrills from viction number four. Victim number four! Nancy Callahan. Age 11. She'll be raped and slashed to ribbons. And that back-up we're waiting on will just happen to show up late enough to let Roark get back home to his U.S. Senator daddy and everything will be fine until Junior gets the itch again.
Bob: Take a deep breath, Hartigan. Settle down and think straight. You're pushing 60. You've got a bum ticker. You're not saving anybody.
John Hartigan: You've got a great attitude, Bob. You're a great cop. A real credit to the force, you are.
Bob: Eileen's home waiting for you. Think about Eileen.
John Hartigan: Heck, Bob. Maybe you're right.
Bob: I'm glad to hear you're finally talking sense!
[Hartigan punches Bob in the face]
John Hartigan: [narrating] Hell of a way to end a partnership. Hell of a way to start my retirement.

--------------------------------------------------------------------------------
Cop: There's no sign of him!
Marv: Here's a sign!
[hits cop in groin with hatchet]

--------------------------------------------------------------------------------
John Hartigan: [pounding Yellow Bastard into floor]
[shouts]
John Hartigan: Eight long years, you son of a bitch!

--------------------------------------------------------------------------------
Shellie: [after Dwight drowns Jackie-Boy in his own urine] Dwight, what did you do to him?
Dwight: I gave him a taste of his own medicine.

--------------------------------------------------------------------------------
Cardinal Roark: [holding Kevin's head before Marv kills him] We're going home, Kevin.

--------------------------------------------------------------------------------
Marv: Lucille's my parole officer. She's a dyke, but God knows why. With that body of hers she could have any man she wants.

--------------------------------------------------------------------------------
Dwight: Do I risk it all and take this cop down?

--------------------------------------------------------------------------------
Klump: I can only express puzzlement, that borders on alarm.

--------------------------------------------------------------------------------
Lucille: [screaming] He made me watch!

--------------------------------------------------------------------------------
Dwight: It's your apartment. But be careful, Shellie, this clown's got big, mean drunk-on and he's got four friends out there in the hall, breathing hard and just as drunk as he is.
Jack Rafferty: Hey, I could swear I heard somebody in there with you, just now. You got somebody with you, baby? You be honest with me. You owe me that much.
Shellie: Somebody? Jackie Boy, it's a regular African love-fest in here. I got me all five starters and half the bench of the Basin City Blues keeping me company. You feel like taking them on?
Jack Rafferty: You're teasing me, baby. I'm no racist.

--------------------------------------------------------------------------------
Jack Rafferty: You're gonna love this, baby.

--------------------------------------------------------------------------------
Klump: And, if my current state of much-justified petulance permits me to press the point, you are likeways demonstratably bereft of a working understanding of the perimeters of our beforementioned mission at hand.
Klump: Relevant to said mission is the following query I now put forth to you. Said query concerning matters strictly spatial in nature... Wherein this most streamlined and trunkless of transports, boner-inspiring though it may be, wherein are we to reposit our recently deceased cargo?

--------------------------------------------------------------------------------
Senator Rourk: Evening, Officer. I don't have to introduce myself, do I? You read the papers. This being an election year, you've seen plenty of my picture. You know what I can do. And I'm doing you, Hartigan. Cold and hard, I'm doing you.

--------------------------------------------------------------------------------
[from trailer]
Jack Rafferty: You wanna see it? You wanna see what I got?

--------------------------------------------------------------------------------
Jack Rafferty: You want to see it? You wanna see what I got?
Becky: I've seen all shapes, all sizes.
Jack Rafferty: [pulls gun] You seen this one?

--------------------------------------------------------------------------------
Dwight: Where to fight, it counts for a lot. But there's nothing like having your friends show up with lots of guns.

--------------------------------------------------------------------------------
[from trailer]
Yellow Bastard: Recognize my voice, Hartigan? Recognize my voice, you piece-of-shit cop? I look different, but I bet you can recognize my voice!

--------------------------------------------------------------------------------
Marv: What if I'm wrong? I've got a condition. I get confused sometimes. What if I've imagined all this? What if I've finally turned into what they've always said I would turn into? A maniac. A psycho killer.

--------------------------------------------------------------------------------
Marv: [voiceover] Goldie's dead. I've been framed for murder. The cops are in on it.
Cop: [knocks on door] Open up! Police!
Marv: I'll be right out.
[flicks lighter shut]
Marv: [Door is blown off its hinges, taking several cops with it]

--------------------------------------------------------------------------------
[from trailer]
Dwight: It's time to prove to your friends that you're worth a damn. Sometimes that means dying, sometimes it means killing a whole lot of people.

--------------------------------------------------------------------------------
Becky: [after Jackie Boy pulls a gun out on her] Oh, sugar, you just gone and done the dumbest thing in your whole life.

--------------------------------------------------------------------------------
Dwight: This clown's out of control. I followed him here to make sure he didn't hurt any of the girls.
Gail: Us helpless little girls.

--------------------------------------------------------------------------------
John Hartigan: I'm looking for Nancy Callahan?
Shellie: Eyes to the stage, pilgrim. She's just warming up.

--------------------------------------------------------------------------------
Marv: [narrating] Walk down the right back alley in Sin City, and you can find anything...

--------------------------------------------------------------------------------
[after being smacked in the jaw by Jackie Boy]
Bozo No. 1: [about Jackie Boy] He is generous. But that temper of his... you shouldn't have picked on him like you did. My temper, you don't have to worry about.
Shellie: [grabs a knife and points it at him] Shut up and keep your hands to yourself, or I'll cut your little pecker off.
Bozo No. 1: Woo! I been told!

--------------------------------------------------------------------------------
[from trailer]
The Salesman: The wind rises electric. She's soft and warm and almost weightless. Her perfume is sweet promise that brings tears to my eyes. I tell her that everything will be all right; that I'll save her from whatever she's scared and take her far far away. I tell her that I love her.
[silenced gunshot]
The Salesman: The silencer makes a whisper of the gunshot. I hold her close until she's gone. I'll never know what she was running from. I'll cash her check in the morning.

--------------------------------------------------------------------------------
[from trailer]
Jack Rafferty: Come on get in the car baby, we'll just talk it'd be nice.
[pulls gun]

--------------------------------------------------------------------------------
Jack Rafferty: Baby doll, I've had me one helluva bad day. I've been beaten up every time I turn around.

--------------------------------------------------------------------------------
John Hartigan: Roark! Give it up. Let the girl go.
Roark Jr.: [holding a young Nancy] You can't do a goddamn thing to me Hartigan. You know who I am. You know who my father is! You can't touch me, you piece of shit cop! Look at you, you can't even lift that cannon you carry!
John Hartigan: [pause] Sure I can.
[shoots Junior]

--------------------------------------------------------------------------------
Manute: The truce of Sin City will be shattered. There'll be arrests, there'll be deaths. Nothing can stop this.

--------------------------------------------------------------------------------
Marv: I don't know about you, but I'm havin' a ball.

--------------------------------------------------------------------------------
John Hartigan: [after turning down Nancy] Cold shower. It helps.

--------------------------------------------------------------------------------
Nancy Callahan: [to Hartigan] It has always been you. All these years...

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John Hartigan: [beating the Yellow Bastard's head in] After a while all I'm doing is punching wet chips of bone into the floorboards. So I stop.

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Cop: You tagged him good.
Cop: Don't take no chances. Perforate the fool!
John Hartigan: [turns around and shoots them] Good advice.

--------------------------------------------------------------------------------
Jack Rafferty: [with his hand cut, and one of Miho's shuriken in his butt, while crawling to pick up his hand] Don't laugh, it's not funny!

--------------------------------------------------------------------------------
Brian: [to Dwight] Never give an Irishman a cause for revenge.

--------------------------------------------------------------------------------
Yellow Bastard: [raises knife] Here it comes, it's gonna hurt.
John Hartigan: You're right about that.
[stabs him]
John Hartigan: Sucker.

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Please Give (2010) Quotes

noreply@blogger.com (Unknown) — Sat, 27 Nov 2010 13:19:00 -0800

At a glance:
Writer/director Nicole Holofcener expertly creates characters that portray the difference between caring, pity, and indifference in this gentle New-York-based comedy/drama

Our review (with spoilers):
Wonderful slice of life dramedy about Kate and Alex (Catherine Keener and Oliver Platt), a middle aged couple who live quite nicely by buying furniture from the children of recently deceased New Yorkers. Kate’s got a conscience, however, that is being exposed by her incessant profit-taking. It isn’t helped when she and Alex buy the next door apartment and have to deal with the ‘direct’ elderly woman (Ann Morgan Guilbert) who lives in it, along with her very different twenty-something daughters.

There are poignant moments as well as some laugh out loud ones in this gentle drama. Keener and Platt are both wonderful, but it was especially great to see Guilbert (who started her career long ago as Millie Helper on The Dick Van Dyke Show) still going. There also good supporting work from Rebecca Hall, Elise Ivy, and Sarah Steele. This is my first acquaintance with writer/director Nicole Holofcener, and it was a pleasant one.

Rating: 3 of 4

Other reviewers said:
"Nicole Holofcener, who writes the most interesting female characters in the movies, delivers another dazzling role to her muse, Catherine Keener, in Please Give, a delightfully dry dramedy about guilt."
- Roger Moore (Orlando Sentinel)

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Freezer Burn (2007) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:06:00 -0700

Movie quotes:
Virgil: Oh! Hey! It’s a tiny wooden moose!
Blake: It gave me a whittle cramp.
Virgil: Oh! You got a whittle cwamp?
Blake: A whittling cramp, a whittling cramp, ‘cause I was – I was up all night whittling!

Virgil: Alright, I’ll see ya – later.
Rex: Fifteen years.
Virgil: Fifteen years.

Gary: Here are your fuckin’ French Fries.
Rex: They’re Freedom Fries, Gary.
Gary: Yeah, sure.
Rex: You’re letting the terrorists win!

Rex: I’ll give you the rundown. A few years back, terrorists attacked us, fucked shit up royal – so, now we’re back in Iraq, and we’re asking for help, and the Frenchies are like, ‘No!’. So we’re all, like, ‘Bye, French Fries; hello, Freedom Fries’.
Virgil: Sounds…stupid and convoluted.
Rex: Yeah, and we got Freedom Toast, Freedom Bread, Freedom Dip, Freedom Kissin’…it’s a different world now, Virg – welcome to it. Need some ketchup – Gary!

At a glance:
An entertaining concept and some enthusiastic acting make Freezer Burn’s tale of cryogenic love a low-budget sci-fi gem

Our review (with spoilers):
Virgil Stamp (Robert Harriell) is a scientist whose goal is to prolong the ability to freeze donor organs. Buoyed by his success with monkey hearts, he makes the jump to believing he can freeze an entire living thing. A terminally ill dog is his first test; when that succeeds, he looks for another subject. In the meantime, his devotion to his work has caused tension between him and his wife, Blake (C. C. Seymour). This isn’t helped when he takes a liking to the paintings of Emma (Ella Rae Peck), a comely 14 year old student of Blake. When Blake finds out that he purchased one of Emma’s paintings behind her back, she destroys his frozen specimens, ruining his upcoming presentation. With his funding and his marriage terminated, Virgil realizes his feelings for Emma are true love. To prove his theories are correct, and to set up a legal meeting between Emma and himself, he freezes himself, leaving instructions for his assistant Rex (Michael Consiglio) to thaw him out in fifteen years. He also leaves instructions for Mendelson (Ivo Velon), a dodgy criminal who owes him a favor, to keep track of Emma. Eleven years later, a failure to pay notice means Virgil climbs out of his freezer in the middle of a dump, homeless and in his underwear. He has no friends, no money, and no outer garments. He eventually finds Rex, who is now homeless, and Mendelson finds him. Mendelson’s news is that Emma died in a car crash, but as he tells his story, we see that in reality, Mendelson fell in love with Emma and married her (this plotline is a bit similar to There’s Something About Mary).

There are moments of amateurish writing and acting in Freezer Burn, but not many, and not nearly enough to reduce the enjoyment of the clever concept, entertaining story, enthusiastic acting, and the general ‘feel-good’ mood of the whole project. Robert Harriell is particularly good in a demanding role that requires he is on-screen almost all the time, often by himself. Some of the fall foliage location filming in Connecticut is also beautiful. I’m hoping to see more from writer/director Charles Hood.

Rating: 2.75 of 4

Click here to order Freezer Burn on DVD

Other reviewers said:
"If you can look past the lack of polish, there are some very fun and entertaining bits in here."
- Curse of Greyface

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For Your Consideration (2006) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:05:00 -0700

Movie quotes:
"You can't throw the baby out with the bathwater because then all you have is a wet, critically injured baby."
- Lane Iverson (Michael McKean)

At a glance:
Christopher Guest’s first ever misfire looks behind the scenes at low-budget film-making; an attempt is made at both comedy and sincerity, but neither is delivered

Our review (with spoilers):
This inside-Hollywood film looks at the making of Home For Purim, a 1940s Jewish-themed drama about the American South. Three of the actors (two in the twilight of their careers, and one just making the jump from comedy) find out that they may be nominated for Best Actor Academy Awards. It’s likely these are just rumors and nothing more, since the script, performances, and direction are not really a-grade.

There are talented performances by Guest’s usual team of potentially hilarious comic actors, but, sadly, very little of the film is funny. The too-broad jokes do not feel like they have a basis in fact (for example, an agent who has never used the Internet). What did make me laugh were the intonations and accent (is that supposed to be New York?) of Christopher Guest’s character. I also appreciated the wonderful Catherine O’Hara. She gets the best character to play here: a fully fleshed out role as an ageing actress who believes her waning career may be on the ascension.

Christopher Guest movies are not meant to be side-splittingly funny. Rather, they are best appreciated as low-budget, humorous and affectionately-made gems, featuring a returning cast of familiar faces. Waiting for Guffman, Guest’s first and funniest, benefited from its status as a true comic surprise. Best in Show had perhaps the broadest comic appeal and was the most successful of the lot. A Mighty Wind was not as funny but was carried by the humorous, entertaining folk music parodies and moments of touching sincerity. For Your Consideration doesn’t have the music, comedy, or sincerity to salvage it.

Rating: 1 of 4

Other reviewers said:
"The problem with For Your Consideration is that it breaks the cardinal rule of comedy: it just isn't funny."
- Ted Murphy (Murphy's Movie Reviews)

"The best jokes are the true jokes, and truth has not been best served here."
- Anthony Quinn (Independent)

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The Bourne Identity (2002) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:05:00 -0700

Movie quotes:
Jason Bourne: Look. You drive, I pay, it's that simple.
Marie: Scheisse. I got enough trouble, okay?
Jason Bourne: Okay. Can I have my money back?
[Marie looks down at the wad of bills in her hand. Cut to Marie driving Jason in the car]

"How could I forget about you? You're the only person I know."
- Jason Bourne

"I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?"
- Jason Bourne

At a glance:
This rare character-driven thriller combines tense action, exotic locations, and a stellar cast, anchored perfectly by Matt Damon as the boyishly innocent-looking but still-deadly Jason Bourne

Our review (with spoilers):
A half-drowned man (Matt Damon) awakens on an Italian fishing vessel, rescued from the ocean, with two bullet holes in his back. He remembers nothing. Slowly, pieces come together; an implant leads him to a safe deposit box that contains cash, numerous passports with a variety of names, and a gun. When threatened, he is surprised to observe himself dispatching two or more armed men with ease. The puzzle takes time to unravel, but what is immediately clear is that many people want him dead. Through convenience, he teams with a troubled, free-spirited woman (Franka Potente) who initially provides transport out of a touchy situation.

This thriller provides plenty of action, but it is, more importantly, character-driven, with strong performances across the board. Matt Damon provides a perfect blend of surface innocence, intelligence, and boyish charm; he is as surprised as we are to find out he is a trained assassin with all the skills of a top secret agent. Franka Potente provides this thriller with an unusual luxury: a strong female lead. Chris Cooper is excellent as Bourne’s boss. Clive Owen is also particularly effective in a small role as an assassin known as The Professor. This nail-biter is laced with occasionally shockingly cold violence (made even more effective by Potente’s heartfelt reactions to it) and lavish European locations; there’s even a two-second throwaway shot of assassin ‘Castel’ (Nicky Naude) vespa-ing through Rome with the Coliseum in the background. Rating: 3.5 of 4

Other reviewers said:
"Efficient set pieces come neatly spaced every ten to 15 minutes -- just often enough to keep you credulous -- and the trans-European settings lend a classy backdrop."
- Time Out

"Liman can uncork leap-out-of-your-seat shocks, draw out suspense scenes with malicious finesse and even ease a touch of romance and droll humor into the yarn."
- Colin Covert (Minneapolis Star Tribune)

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Quench (2007) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:04:00 -0700

At a glance:
Writer/director Zack Parker takes a miniscule budget and wrings a captivating story of a grieving young man who may find solace within a tightly knit circle of Goths

Our review (with spoilers):
There is no peace for the grieving Derik (Bo Barrett). His film-opening visit to a grave informs us that someone close to him has died. But we don’t know who or how close, since he chooses not to share this with anyone. He doesn’t even tell Jason (Ben Schmitt), an old school friend who he visits now because he doesn’t want to go home and has no one else to turn to. To Derik, Jason has changed so much since the two of them were close in high school. Ben now is a full-fledged Goth, having been influenced by his live-in Goth girlfriend, Veronica (Samantha Eileen DeTurk). Jason and Veronica are part of a very tight knit group of Goth friends who attend weird, dark parties where drugs and sex are exchanged. Derik is only partially accepted into these circles. Eventually, Derik’s lethargy and inability to deal with his grief causes conflict between he and Jason, and Derik moves out.

As Derik is about to board a bus to anywhere, fate intervenes; he crosses paths with Gina (Mia Moretti) a Goth girl who has taken a fancy with him. Derik moves in with Gina, and, again, is accepted into the group. This time, however, the extremes of the group’s practices cause Derik to reject them, which leads to disastrous consequences.

Quench is a quiet, thoughtful, slow-paced film, with many moments of silence. This is no Gilmore Girls patter; the characters think, and the story is intriguing enough that we don’t mind wondering, in those silences, what they are thinking about. Since the movie is classified as ‘horror’, horror fans looking for gore may be disappointed (this might account for the 3.9 of 10 rating on IMDB). Conversely, virtually all reviews of the film are overwhelmingly positive. The acting is occasionally amateurish, but Mia Moretti is very good. Bo Barrett proves that though it is difficult to play the role of an almost comatose grieving person without appearing truly wooden, it is not impossible. I’m looking forward to more from Zack Parker.

Rating: 2.75 of 4

Other reviewers said:
"Usually when dealing with darker subjects, movies will take a wild turn into fantasy or horror, Mr. Parker keeps his movie firmly grounded in reality, and the horror of that is more than enough…"
- Brian Morton (Rogue Cinema)

"A chilly examination of decaying hope, Zack Parker’s Quench exemplifies the drive and spirit that embodies truly independent filmmaking."
- Collin Armstrong (Twitch)

"Quench" is a rich tapestry of sub-genres, moral questions, and undertones that ends as a great indie horror picture that works against being another typical horror entry."
- Felix Vasquez Jr. (Cinema Crazed)
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The Bourne Supremacy (2004) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:03:00 -0700

Movie quotes:
Jarda: Word in the ether was you'd lost your memory.
Jason Bourne: You still should have moved.

Pamela Landy: What if I can't find her?
Jason Bourne: It's easy. She's standing right next to you.

Kirill: You told me I had one month off.
Gretkov: You told me Jason Bourne was dead.

"Get some rest, Pam. You look tired."
- Jason Bourne

At a glance:
The second installment of the Matt Damon-led Bourne Trilogy is still an effective action thriller with exotic Euro locations, but it lacks some of the emotional punch of The Bourne Identity

Our review (with spoilers):
Jason Bourne is back. Once again, various people and agencies consider him a rogue and want him dead. He might have been able to stay beneath the radar, but a Russian agent kills two men in Berlin and plants one of Bourne’s prints at the scene. This sends CIA coordinator Pamela Landy (Joan Allen) in pursuit of Bourne. Allen steps into a similar role that Chris Cooper played in Identity; she’s perfectly cast; she even looks a little like Cooper in drag. Landy pursues Bourne in Berlin and Moscow; those two cities provide exotic backdrops, although they are decidedly less pleasing to look at than Paris was from Identity. Likewise, there are attempts made to put emotional hooks into Supremacy, but for a reason I won’t mention here (since it would reveal a major spoiler), they aren’t as effective as Identity. There are also more contrivances (like Zorn taking Abbott aside to show him evidence first before Landy; and Bourne not killing Abbott) that are there to serve the character’s arc rather than make any sense. Consequently, Supremacy is a more conventional thriller; its top shelf locations and casting of Damon and Allen still make it better than many.

Rating: 2.75 of 4

Other reviewers said:
"Flashes of color and streaks of movement can make for a striking picture, but only if you can see what's taking place, not to mention if you care about who is in jeopardy."
- Eric Melin (Lawrence.com)

"Supremacy is, minor quibbles aside, a worthy successor to The Bourne Identity."
- Pete Vonder Haar (Film Threat)

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Franklyn (2009) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:02:00 -0700

Movie quotes:

"If a god is willing to prevent evil, but not able, then he is not omnipotent. If he is able, but not willing, then he must be malevolent. If he is neither able or willing then why call him a god?"
- Jonathan Preest

At a glance:
Writer/director Gerald McMorrow creates a beautiful mystery, told across parallel universes, where the stories of four seemingly unconnected strangers intersect

Our review (with MAJOR SPOILERS):
Somewhere in a sci-fi future, the dark, architecturally-complex city of Meanwhile possesses laws that require every citizen to join a religion, even if that religion is as obscure as the Seventh Day Manicurists, or has a preacher that reads care instructions from clothes tags as if they were Holy Scriptures. In this madness, one masked man, Jonathan Preest (Ryan Phillippe) has defied the government and belongs to no church but his own. Preest is imprisoned for his ‘crime’; after four years, he is granted freedom if he will kill The Individual (Bernard Hill), a particularly dangerous religious leader who, years earlier, was responsible for the death of a girl that Preest was contracted to protect. Running parallel to this universe, in present-day London, are our other protagonists. Emilia (Eva Green), is a troubled young woman who makes monthly failed attempts at suicide as part of her art project. During her previous art project, when she was following strangers with a video camera, she tracked Milo (Sam Riley), a young man whose fiancée recently dumped him on the eve of their wedding. Milo, for his part, has seen glimpses of Emilia in a red wig and believes she is his childhood sweetheart, Sally. Unfortunately, Sally was not a real person, but an imaginary friend that Milo created when his father died. This becomes even stranger when he meets this Sally, and she remembers him.

There is also an older man who is searching for his son, David. Deep into the film, we discover that David is really Preest, and that the girl whom Preest failed to protect was his sister Sarah. As impossible as it may seem, all of these people’s stories will intersect and be resolved.

Franklyn requires heightened levels of concentration and observation to avoid losing interest or missing telltale clues and plot points. In my case, this was not an issue; the acting and the lost-souls love story that is at its core held my attention, as did the beautiful and often poetic production design. Franklyn is the type of film that polarizes viewers and reviewers. This often means that the director was trying to do something ambitious, inscrutable, and original that did not connect with the majority Typically, I rate these types of films at the high end of the scale, with extra points awarded for the effort of creating something that has not been done hundreds of times before. So if some parts do not work (like the occasional cumbersome prose), that’s okay; we can appreciate the many scenes that do.

Rating: 3 of 4

Other reviewers said:
"Franklyn is wonky and self-defeating: there are lots of gauche moments. Still, it’s entertaining, and commendable for its strangeness."
- Edward Porter (Sunday Times [UK])

"If ambition and flair were the only hallmarks of a five-star film then Franklyn would be top of the class."
- Allan Hunter (Daily Express)
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I Love You Man (2009) Quotes

noreply@blogger.com (Unknown) — Mon, 3 Aug 2009 05:01:00 -0700

Movie quotes:
Peter: So what do I do? How do I make friends?
Robbie: If you see a cool looking guy, strike up a conversation and ask him on a man date.
Peter: Ok.
Robbie: You know what I mean?
Peter: No.
Robbie: Casual lunch or after work drinks. You're not taking these boys to see The Devil Wears Prada.
Peter: Oh god, I love that movie. No I won’t.

Man at Open House: [after trying to discretely fart] I like it, but I'm not sure about the space. I'm thinking it might be a little bit small.
Sydney: Totally, and it smells like fart.

At a glance:
Paul Rudd is funny, likeable, and believable as the quintessential "girlfriend’s boyfriend’ who undergoes a freedom of inhibitions when he bonds with a male free spirit played by Jason Segel

Our review (with spoilers):
Like most men, Peter (Paul Rudd) is thrilled to have found the love of his life, but unlike most other men, he doesn’t seem to be feeling the least bit of trepidation about his impending loss of freedom. And also unlike other men, he doesn’t have any male friends. Peter is the quintessential boyfriend, always devoting his time to making life good for his fiancée Zooey (Rashida Jones) and her friends. He’s a lover of chick flicks like The Devil Wears Prada, he doesn’t crave a night out with the guys playing poker and vomiting, and he’s not averse to treating his girlfriend’s hens to a round of root beer floats garnished with Pepperidge Farm Pirouettes chocolate straws.

After a humorous and fruitless search for male companionship on a series of ‘man dates’, many sponsored by his gay brother and misguided mother, Peter finally happens across someone he can bond with: easygoing free spirit Sydney (Jason Segel). Anchored by their shared acquired passion for the rock band Rush, they become such good friends and frequent companions that their relationship begins to crack seams in the bond between Peter and Zooey.

I Love You Man is a very funny movie (especially before it turns a bit maudlin and contrived in the final third). It also had its humorous base in truth; much of Peter’s pre-Sydney situations reminded my very much of my own life.

Although the basic bones of I Love You Man is a tried and true clichéd friendship/redemption story, there are enough funny and original lines that it’s still a rewarding journey. In fact, this works both ways: fans of easy to access happy endings will like it, those who crave originality will like it, and there’s even a fair bit of gross-out humor thrown in to please every taste.

Rating: 2.75 of 4

Other reviewers said:
"A blokey comedy that ironically doubles as a good date movie, I Love You, Man is funny nonsense that just drops short of fulfilling its ripping premise."
- Shannon J. Harvey (Sunday Times [Australia]

"Starting with a pretty funny script, writer-director Hamburg lets his cast have a free hand with their characters, and the improvisational atmosphere is what makes this male-bonding comedy thoroughly engaging."
- Rich Cline (Shadows on the Wall)

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Greatest Movie Quotes

noreply@blogger.com (Unknown) — Fri, 17 Jul 2009 05:10:00 -0700

“I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let’s face it.”

- TERRY MALLOY (Marlon Brando) in On the Waterfront (1954)

Play clip (excerpt):

“We all go a little mad sometimes.”

- NORMAN BATES (Anthony Perkins) in Psycho (1960)

“Mrs. Robinson, you’re trying to seduce me.”

- BEN BRADDOCK (Dustin Hoffman) in The Graduate (1967)

“Hey, don’t knock masturbation. It’s sex with someone I love.”

- ALVY SINGER (Woody Allen) in Annie Hall (1977)

“She’s my daughter! She’s my sister! She’s my daughter! My sister, my daughter. She’s my sister and my daughter.”

- EVELYN CROSS MULWRAY (Faye Dunaway) in Chinatown (1974)

“Open the pod bay doors, HAL.”

- DAVE BOWMAN (Keir Dullea) in 2001: A Space Odyssey (1968)

“Take your stinking paws off me, you damn dirty ape.”

- TAYLOR (Charlton Heston) in Planet of the Apes (1968)

Play clip (excerpt):

“Because when you’re a call girl, you control it, that’s why. Because someone wants you…and for an hour…I’m the best actress in the world.”

- BREE DANIEL (Jane Fonda) in Klute (1971)

“And I say, ‘Hey, Lama, hey, how about a little something, you know, for the effort, you know.’ And he says, ‘Oh, uh, there won’t be any money, but when you die, on your deathbed, you will receive total consciousness.’ So I got that goin’ for me, which is nice.”

- CARL SPACKLER (Bill Murray) in Caddyshack (1980)

“Hitler was better-looking than Churchill, he was a better dresser than Churchill, he had more hair, he told funnier jokes, and he could dance the pants off of Churchill!”

- FRANZ LIEBKIND (Kenneth Mars) in The Producers (1968)

“No, I’m all man. I even fought in WWII. Of course, I was wearing women’s undergarments under my uniform.”

- ED WOOD (Johnny Depp) in Ed Wood (1994)

“Your mother’s in here with us, Karras. Would you like to leave a message? I’ll see that she gets it.”

- REGAN MacNEIL/SATAN (Linda Blair) in The Exorcist (1973)

“You hear me talkin’, hillbilly boy? I ain’t through with you by a damn sight. I’ma get medieval on your ass.”

- MARCELLUS WALLACE (Ving Rhames) in Pulp Fiction (1994)

“I fart in your general direction. Your mother was a hamster and your father smelt of elderberries.”

- FRENCH SOLDIER (John Cleese) in Monty Python and the Holy Grail

“He won’t come after me. He won’t. I can’t explain it. He would consider that…rude.”

- CLARICE STARLING (Jodie Foster) in The Silence of the Lambs (1991)

“Excuse me while I whip this out.”

- BART (Cleavon Little) in Blazing Saddles (1974)

“No, Mr. Bond. I expect you to die!”

- AURIC GOLDFINGER (Gert Frobe) in Goldfinger (1964)

“I’m your worst f—ing nightmare, man. I’m a nigger with a badge.”

- REGGIE HAMMOND (Eddie Murphy) in 48 HRS. (1982)

“Kid, the next time I say, ‘Let’s go someplace like Bolivia,’ let’s go someplace like Bolivia.”

- BUTCH CASSIDY (Paul Newman) in Butch Cassidy and the Sundance Kid (1969)

“Wendy? Darling? Light of my life?…I’m not gonna hurt ya. I’m just gonna bash your brains in. I’m gonna bash ‘em right the f— in!”

- JACK TORRANCE (Jack Nicholson) in The Shining (1980)

“I just hate you and I hate your ass face.”

- CORKY ST. CLAIR (Christopher Guest) in Waiting for Guffman (1996)

“You shoot off a guy’s head with his pants down, believe me, Texas is not the place you wanna get caught.”

- LOUISE (Susan Sarandon) in Thelma & Louise (1991)

“And I guess that was your accomplice in the wood chipper.”

- MARGE GUNDERSON (Frances McDormand) in Fargo (1996)

“The greatest trick the devil ever pulled was convincing the world he didn’t exist.”

- VERBAL KINT (Kevin Spacey) in The Usual Suspects (1995)

“I do not, for one, think that the problem was that the band was down. I think that the problem may have been that there was a Stonehenge monument on the stage that was in danger of being crushed by a dwarf.”

- DAVID ST. HUBBINS (Michael McKean) in This Is Spinal Tap (1984)

“That’s what I love about these high school girls, man: I get older, they stay the same age.”

- WOODERSON (Matthew McConaughey) in Dazed and Confused (1993)

“I have nipples, Greg. Could you milk me?”

- JACK BYRNES (Robert DeNiro) in Meet the Parents (2000)

“Fat, drunk, and stupid is no way to go through life, son.”

- DEAN WORMER (John Vernon) in National Lampoon’s Animal House (1978)

“Who told you to step on my sneakers, who told you to walk on my side of the block, who told you to be in my neighborhood?”

- BUGGIN OUT (Giancarlo Esposito) in Do The Right Thing (1989)

“There’s a lotta things about me you don’t know anything about, Dottie. Things you wouldn’t understand. Things you couldn’t understand.”

- PEE-WEE HERMAN (Paul Reubens) in Pee-wee’s Big Adventure (1985)

“Joey, do you like movies about gladiators?”

- CAPTAIN OVEUR (Peter Graves) in Airplane! (1980)

“My name is Maximus Decimus Meridius, commander of the armies of the North, general of the Felix legions, loyal servant to the true emperor, Marcus Aurelius. Father to a murdered son, husband to a murdered wife. And I will have my vengeance, in this life or the next.”

- MAXIMUS (Russell Crowe) in Gladiator (2000)

“Bring the dog, I love animals. I’m a great cook.”

- ALEX FORREST (Glenn Close) in Fatal Attraction (1987)

“And one day, not long from now, my looks will go. They will discover I can’t act, and I will become some sad middle-aged woman who looks a bit like someone who was famous for a while.”

- ANNA SCOTT (Julia Roberts) in Notting Hill (1999)

“Aristotle was not Belgian. The central message of Buddhism is not ‘every man for himself.’ And the London Underground is not a political movement. Those are all mistakes, Otto. I looked them up.”

- WANDA (Jamie Lee Curtis) in A Fish Called Wanda (1988)

“Empire had the better ending. I mean, Luke gets his hand cut off, finds out Vader’s his father, Han gets frozen and taken away by Boba Fett. It ends on such a down note. I mean, that’s what life is, a series of down endings. All Jedi had was a bunch of Muppets.”

- DANTE (Brian O’Halloran) in Clerks (1994)

“My daughter is in pain…Give my daughter the shot!”

- AURORA GREENWAY (Shirley MacLaine) in Terms of Endearment (1983)

“Relax, all right? Don’t try to strike everybody out. Strikeouts are boring; besides that, they’re fascist. Throw some ground balls. It’s more democratic.”

- CRASH DAVIS (Kevin Costner) in Bull Durham (1988)

“I have one simple request. And that is to have sharks with frickin’ laser beams attached to their heads!”

- DR. EVIL (Mike Myers) in Austin Powers: International Man of Mystery (1997)

“I’m not bad; I’m just drawn that way.”

- JESSICA RABBIT (Kathleen Turner) in Who Framed Roger Rabbit (1988)

“You want me to strap her to the hood?…She’ll be fine. It’s not as if it’s going to rain or something.”

- CLARK GRISWOLD (Chevy Chase) in National Lampoon’s Vacation (1983)

“When I first saw you, I thought you were handsome. Then, of course, you spoke.”

- CAROL CONNELLY (Helen Hunt) in As Good As It Gets (1997)

“When it comes down to making out, whenever possible, put on side 1 of Led Zeppelin IV.”

- MIKE DAMONE (Robert Romanus) in Fast Times at Ridgemont High (1982)

“I wanted to meet interesting and stimulating people of an ancient culture, and kill them.”

- PRIVATE JOKER (Matthew Modine) in Full Metal Jacket (1987)

“Look at that! Look how she moves! That’s just like Jell-O on springs.”

- JERRY (Jack Lemmon) in Some Like It Hot (1959)

“This is the West, sir. When the legend becomes fact, print the legend.”

- MAXWELL SCOTT (Carleton Young) in The Man Who Shot Liberty Valance (1962)

“Someone has to die in order that the rest of us should value life more.”

- VIRGINIA WOOLF (Nicole Kidman) in The Hours (2003)

“Nobody’s looking for a puppeteer in today’s wintry economic climate.”

- CRAIG SCHWARTZ (John Cusack) in Being John Malkovich (1999)

“Jerry, d’you know the human head weighs eight pounds?

- RAY (Jonathan Lipnicki) in Jerry Maguire (1996)

“I can’t believe I gave my panties to a geek.”

- SAMANTHA (Molly Ringwald) in Sixteen Candles (1984)

“You know how to whistle, don’t you, Steve? You just put your lips together…and blow.”

- MARIE BROWNING (Lauren Bacall) in To Have and Have Not (1944)

Play clip (excerpt):

“Veda’s convinced me that alligators have the right idea: They eat their young.”

- IDA CORWIN (Eve Arden) in Mildred Pierce (1945)

“If I’d been a ranch, they would’ve named me the Bar Nothin’.”

- GILDA (Rita Hayworth) in Gilda (1946)

“Fasten your seat belts - it’s going to be a bumpy night.”

- MARGO CHANNING (Bette Davis) in All About Eve (1950)

Play clip (excerpt):

“Stand up. Your father’s passing.”

- REVEREND SYKES (William Walker) in To Kill a Mockingbird (1962)

“Gentlemen, you can’t fight in here. This is the War Room!”

- PRESIDENT MUFFLEY (Peter Sellers) in Dr. Strangelove or:… (1964)

Play clip (excerpt):

“What we’ve got here…is failure to communicate.”

- CAPTAIN (Strother Martin) in Cool Hand Luke (1967)

Play clip (excerpt):

“They call me Mister Tibbs!”

- VIRGIL TIBBS (Sidney Poitier) in In the Heat of the Night (1967)

Play clip (excerpt):

“Do you enjoy…knives?”

- HAROLD (Bud Cort) in Harold and Maude (1971)

“I bet you can squeal like a pig.”

AND

“Get them panties down.”

- MOUNTAIN MAN in Deliverance (1972)

“Look how they massacred my boy.”

- VITO CORLEONE (Marlon Brando) in The Godfather (1972)

“Is it safe?”

- DR. SZELL (Laurence Olivier) in Marathon Man (1976)

“You talkin’ to me? Well, I’m the only one here.”

- TRAVIS BICKLE (Robert DeNiro) in Taxi Driver (1976)

Play clip (excerpt):

“I love the smell of napalm in the morning.”

- KILGORE (Robert Duvall) in Apocalypse Now (1979)

Play clip (excerpt):

“You’re not too smart, are you? I like that in a man.”

- MATTY WALKER (Kathleen Turner) in Body Heat (1981)

“It’s not the years, honey. It’s the mileage.”

- INDIANA JONES (Harrison Ford) in Raiders of the Lost Ark (1981)

“These go to 11.”

- NIGEL TUFNEL (Christopher Guest) in This is Spinal Tap (1984)

“Game over, man! Game over!”

- HUDSON (Bill Paxton) in Aliens (1986)

“Nobody puts Baby in a corner.”

- JOHNNY CASTLE (Patrick Swayze) in Dirty Dancing (1987)

“Hello. My name is Inigo Montoya. You killed my father. Prepare to die.”

- INIGO MONTOYA (Mandy Patinkin) in The Princess Bride (1987)

“Inconceivable!”

“You keep using that word. I do not think it means what you think it means.”

- INIGO MONTOYA (Mandy Patinkin) in The Princess Bride (1987)

“Have fun storming the castle!”

- MIRACLE MAX (Billy Crystal) in The Princess Bride (1987)

“As you wish.”

- WESTLEY (Cary Elwes) in The Princess Bride (1987)

“Son, you got a panty on your head.”

- GUY IN A TRUCK (John O’Donnal) to Nicolas Cage in Raising Arizona (1987)

“I have come here to chew bubble gum and kick ass, and I’m all out of bubble gum.”

- NADA (”Rowdy” Roddy Piper) in They Live (1988)

“Is this heaven?”

“No, it’s Iowa.”

- RAY KINSELLA (Kevin Costner) in Field of Dreams (1989)

“This is Ohio. I mean, if you don’t have a brewski in your hand, you might as well be wearing a dress.”

- JASON DEAN (Christian Slater) in Heathers (1989)

“I gave her my heart and she gave me a pen.”

- LLOYD DOBLER (John Cusack) in Say Anything… (1989)

“I’ll have what she’s having.”

- FEMALE DINER (Estelle Reiner) in When Harry Met Sally… (1989)

Play clip (excerpt):

“Funny like I’m a clown? I amuse you?”

- TOMMY DeVITO (Joe Pesci) in GoodFellas (1990)

“It’s not a tumah!”

- JOHN KIMBLE (Arnold Schwarzenegger) in Kindergarten Cop (1990)

“He didn’t get out of the cockadoodle car!”

- ANNIE WILKES (Kathy Bates) in Misery (1990)

“Get outta here! And don’t come back for five to seven days!”

- VADA SULTENFUSS (Anna Chlumsky) in My Girl (1991)

“Love your suit.”

- HANNIBAL LECTER (Anthony Hopkins) in The Silence of the Lambs (1991)

“There are two types of people in this world: those who like Neil Diamond, and those who don’t.”

- BOB WILEY (Bill Murray) in What About Bob? (1991)

“You can’t handle the truth!”

- COLONEL JESSUP (Jack Nicholson) in A Few Good Men (1992)

Play clip (excerpt):

“There’s no crying in baseball!”

- JIMMY DUGAN (Tom Hanks) in A League of Their Own (1992)

Play clip (excerpt):

“Oh, for goodness’ sakes, get down off that crucifix. Someone needs the wood.”

- ADAM/FELICIA (Guy Pearce) in The Adventures of Priscilla, Queen of the Desert (1994)

“Sometimes being a bitch is all a woman has to hold on to.”

- DOLORES CLAIBORNE (Kathy Bates) in Dolores Claiborne (1995)

“You had me at hello.”

- DOROTHY BOYD (Renee Zellweger) in Jerry Maguire (1996)

Play clip (excerpt):

“Show me the money.”

- ROD TIDWELL (Cuba Gooding Jr.) in Jerry Maguire (1996) (also voiced by Jerry Maguire (Tom Cruise))

Play clip (excerpt):

“And in the morning, I’m making waffles!”

- DONKEY (Eddie Murphy) in Shrek (2001)

“Why does it cry, Sméagol?”

- GOLLUM (Andy Serkis) in The Lord of the Rings: The Two Towers (2002)MoviesCapital.com - Real & Legal Unlimited Movie Downloads !!

Brüno Review

noreply@blogger.com (Unknown) — Mon, 13 Jul 2009 20:04:00 -0700

Directed by Larry Charles
Written by Sacha Baron Cohen, Anthony Hines, Dan Mazer, Jeff Schaffer and Peter Baynham
On general release from 10th July 2009

There is a special type of laugh that might only be heard at screenings of Sacha Baron Cohen films. It starts with a rapid, high-pitched expulsion of air from the lungs, at the moment when you can't believe he just did that. But it is quickly strangled in the throat, in the instant when you realise you're not sure what you're laughing at, or whether you'd like to sit next to the kind of person who finds that sort of thing funny.

Following on from lightweight political spoof Ali G Indahouse (2002), and the often deceptively clever journey into the dark side of the American dream that was Borat (2006), Brüno is just a silly caricature of a gay man. Sacked from his Austrian fashion TV show, he travels to the US with loyal assistant Lutz (Gustaf Hammarsten) in step, seeking celebrity by any means necessary.

So yes, he films a disastrous pilot show, he swaps an African baby for an iPod and names him ‘O.J.’ (“a traditional African name”), and he even tries to become hetero, with the ‘help’ of a deeply bigoted church pastor, and ever-so-straight activities such as going into the woods with a bunch of men and killing furry creatures.

On Da Ali G Show – the Channel Four series that spawned all three of Baron Cohen’s big screen alter egos – he used the naivety of his creations to draw out subversive revelations from his often clueless yet pompous establishment guests. Brüno in particular has travelled a long way since then. Previously, he encouraged us to laugh at the vacuity of the fashion industry, as he metaphorically stripped away the glitz and revealed that the emperor was actually starkers. Now, as a hypersexual cartoon, he offends and upsets exactly the people you might expect to be offended and upset by having queerness thrust in their faces (puns very much intended).

In one scene, 2008 Republican Presidential candidate Ron Paul is Brüno’s victim. Paul is a racist, anti-abortionist, ultra-nationalist representative of the US super elite. But as Brüno postpones an ‘interview’, marches Paul to a bedroom and starts gyrating – apparently attempting to ‘seduce’ the seventy-three-year-old so he can make a sex tape – it’s easy to feel sorry for an elderly man who has blatantly been conned and sexually intimidated. Under extreme provocation, he leaves the bedroom and barks a few words at a crewmember, like most people would. Is this meant to be funny, or merely shocking?

Buried under piles of cash beyond his wildest dreams, it is easy to see why Baron Cohen wouldn’t be particularly bothered by establishment hypocrisy these days. Instead, like some of the worst comedians in circulation, he has been reduced to nothing more than shock tactics. Time and time again, Brüno acts in a way specifically designed to upset certain people, and then they are upset. Presumably, we’re meant to pat ourselves on the back for only laughing ‘ironically’. It's like...vassever. MoviesCapital.com - Real & Legal Unlimited Movie Downloads !!

Terminator Salvation Review

noreply@blogger.com (Unknown) — Tue, 7 Jul 2009 03:25:00 -0700

Terminator Salvation (PG 13)

Staring: Christian Bale

Directed by: McG
The much-anticipated next chapter of the Terminator series does not disappoint. In this episode we are introduced to Marcus Wright (Sam Worthington) a cop killer with a conscious who signs away his soon to be remains while on death row to a company who eventually becomes the sinister master behind the machines, Skynet.

Jumping a few decades, we are whisked to the post-apocalyptic “Judgment Day” referred to in the previous films. Christian Bale plays the now adult John Connor, already a legend in his time, and the unofficial leader of “The Resistance,” humans fighting for their survival against the constant onslaught of terminator hunting robots.

John Connor has still to meet his soon to be father, Kyle Reese, the man he would soon send into the past to save him in the first Terminator movie, and who also ends up being John’s father. In this time, Kyle is but a lonely teenager played by Anton Yelchin, who ends up being the first person to meet up with the revived Marcus Wright, who doesn’t understand how he is alive or where and what time he’s in.

It’s not long before we find out that Marcus is both man and machine, created by Skynet for a purpose not yet known. It is the struggle between his two halves that make the dramatic points of the movie.

The movie is full of action and at times suspenseful. The man vs. machine battles are well directed without the headache inducing CGI sequences in movies like Transformers. It’s surprisingly “retro” in special effects, which is refreshing.

Bale, fresh off his Batman sequel, does well as the leader Connor, but honestly the role could have been given to anyone. One focuses less on the star power and more on the movie as a whole, and the cast does well together. Standouts include Jadagrace Berry, who plays a mute nine year old who seems to know just what to do at just the right time.

Overall,Terminator is a pleasant diversion and a fun movie to watch, especially if you are a fan of the previous movies. Even Arnold makes an appearance. The violence is mostly man vs. machine, but there is a lot of it. A great movie for taking the kids one afternoon, either with the wife, or to give her some quiet time at the house.

Your Daddy Time: Worth it or Wasted? Worth It! 3 out of 5 stars
The Rating System is for dads who need to know one thing- Is this movie WORTH IT to: * Pack up the kids, bags, etc and trek to the theater – or
* Find a babysitter so Dad can have a date night – or
* Cash in brownie points with the Mrs. so he can go with his buddies

If it doesn’t fit these simple criteria, the movie gets the WASTED rating, which means – don’t waste the precious time you have, wait for video/cable when you can squeeze it between chores, work and sleep.
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Brüno Review And Quotes

noreply@blogger.com (Unknown) — Tue, 7 Jul 2009 03:23:00 -0700

Brüno (Rating: R)
Cast: Sacha Baron Cohen, Gustaf Hammarsten
Directed by Larry Charles

How can you top a foreign “journalist” who comes to America and brings a bag of his own feces to the dinner table of Southern socialites? How about an Austrian “fashionista” who tries to make a sex tape with former Republican presidential candidate Ron Paul?

So is the saga of Brüno, an exiled Austrian TV personality who attempts to make it in America. Sacha Baron Cohen takes his character to an unavoidable extreme that is both lovable, incredibly jarring, and, at times, borderline obscene.

The underlying theme is similar to Cohen’s Borat, where the main character, through his travels and interactions with supposedly “every day people,” exposes the dirty underbelly of polite society. This time the focus is not on race relations, but the insecurities around homosexuality.

And he spares no one. He “exposes” himself to the homophobia of Alabama huntsman, US servicemen, a talk show audience full of African Americans, and a stadium full of extreme fighting fans. He even goes to the Middle East to “help” with the peace process, but instead gets chased by Orthodox Jews for wearing skimpy Hasidic garb.

Lutz (Hammarsten) is Brüno’s loyal assistant/lover, who helps on his quest. Of course, the real attractions are less the made-up characters but the real people they interact with, interview, and otherwise make very, very uncomfortable throughout the movie. Without giving any spoilers, I found it incredible that Mr. Cohen finished this movie without being seriously injured and/or pressed with charges.

To watch this movie is to engage in a type of mental endurance test of acceptance. How long can you place your heterosexual “hand” over the “flaming” fire before you recoil? At what point of sexual escalation would you, a grown man, blush and/or look away in embarrassment? That is what Sacha Baron Cohen wants you to experience. The moral takeaway, if there is one, is to explore our own sexual hypocrisy, no more evident than when Cohen engages a stadium full of people celebrating man on man violence and man on women misogyny, and traumatizes them with a simple (though a bit dramatic) act of man on man love.

So dads, is this a date movie? Perhaps an easier answer on the coasts (our NY audience ended in applause), but I wonder if the message will be lost to those people who should probably most watch it. Cohen does little to dispel old gay stereotypes and one feels very sorry for some of the subjects of his “hijack-umentary” filmmaking style. I thought the taking care of baby jokes fell a little flat and may distract from the rest of the movie, but overall, if you want to laugh, think a little, and be taken way out your comfort zone, this is the movie to see.

Your Daddy Time: Wasted of Worth It? Worth it! 3.5/5 Stars

The Worth It/Wasted Rating System is for dads who need to know one thing- Is this movie WORTH IT to:

* Pack up the kids, bags, etc and trek to the theater – or
* Find a babysitter so Dad can have a date night – or
* Cash in brownie points with the Mrs. so he can go with his buddies

If it doesn’t fit these simple criteria, the movie gets the WASTED rating, which means – don’t waste the precious time you have, wait for video/cable when you can squeeze it between chores, work and sleep.
MoviesCapital.com - Real & Legal Unlimited Movie Downloads !!

The Proposal (2009) Review

noreply@blogger.com (Unknown) — Tue, 23 Jun 2009 14:24:00 -0700

Margaret Tate (Sandra Bullock) is the executive editor-in-chief of a book publishing company, Colden Books, who forces her assistant Andrew Paxton (Ryan Reynolds) to marry her in order to avoid being deported to Canada. He grudgingly accepts, under the condition that he is promoted to the position of editor. When the government investigates, the two are forced to spend the weekend with his parents in Alaska in order to sell the lie. The family suggest they could marry the same weekend, and they reluctantly accept. They start to fall genuinely in love as they spend more and more time together. Because of this, during the wedding ceremony, Margaret decides she cannot do this to Andrew and confesses the business arrangement in front of everyone--including the immigration officer handling their case. She is then told that she has 24 hours to get back to Canada, and thus goes back to New York to pack her things. Upon doing so, however, Andrew shows up at the office and confesses his love for her in front of the entire office staff, proposing marriage all over again. [D-Man2010]

When high-powered book editor Margaret faces deportation to her native Canada, the quick-thinking exec declares that she's actually engaged to her unsuspecting put-upon assistant Andrew, who she's tormented for years. He agrees to participate in the charade, but with a few conditions of his own. The unlikely couple heads to Alaska to meet his quirky family and the always-in-control city girl finds herself in one comedic fish-out-of-water situation after another. With an impromptu wedding in the works and an immigration official on their tails, Margaret and Andrew reluctantly vow to stick to the plan despite the precarious consequences. [D-Man2010]
Director: Anne Fletcher
written by: Pete Chiarelli
Release Date: 12 June 2009 (USA)
Genre: Comedy,Romance
Cast:
Sandra Bullock
Ryan Reynolds
Mary Steenburgen
Craig T. Nelson
Betty White
Denis O'Hare
Malin Akerman
Oscar Nuñez
Aasif Mandvi
and others..
The Proposal Trailer [2009]

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17 Again Review

noreply@blogger.com (Unknown) — Tue, 23 Jun 2009 14:16:00 -0700

Director:
Burr Steers
Writer ):
Jason Filardi
Release Date:
17 April 2009 (USA) more
Genre:
Comedy | Drama | Romance more
Tagline:
Who says you're only young once? more
Plot:
About a guy whose life didn't quite turn out how he wanted it to and wishes he could go back to high school and change it. He wakes up one day and is seventeen again and gets the chance to rewrite his life.

Good movie, this plot is old but a good one, "the old wish I could go back in time and change my life shabam back in time but make the same choose you did the first time" wish I could go back in time I can guarantee you that I would do everything different. But a good movie go watch, thumbs up

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Defiance (2008) Review

noreply@blogger.com (Unknown) — Sat, 6 Jun 2009 08:04:00 -0700

Movie quotes:
Tuvia (Daniel Craig): What did you do?
Isaac (Mark Feuerstein): I suppose you’d have to say I was – am – an intellectual.
Zus (Liev Schreiber): This is a job?

"Our revenge is to live. We may be hunted like animals but we will not become animals. We have all chosen this - to live free, like human beings, for as long as we can. Each day of freedom is a victory. And if we die trying to live, at least we die like human beings."
- Tuvia

At a glance:
Based on a true holocaust story of Jewish survivors hiding in the forests of Belarussia, Defiance benefits from solid performances in an emotional war setting, and is only occasionally set back by Hollywood contrivances

Our review:
During the Second World War, two Jewish brothers are forced to hide in the Belarussia woods when their family is killed by the Nazis. They are joined by hundreds of other Jews, all looking for a safe haven. Zus (Live Schreiber) would probably be happy to leave these lost souls, but Tuvia (Daniel Craig) feels the need to protect and provide for them. They build a forest camp and attempt to hide from vengeful locals from whom they’ve ‘borrowed’ food, and from always vigilant German patrols. There is conflict as well between the two brothers. Zus favors a hard line approach to survival, advocating acts of revenge and the killing of potential threats. Tuvia, perhaps the more natural leader of men, wants to impose a strict set of ethics on their endeavors to ensure they do not end up as morally tainted as their enemies.

Although framed within a ‘true’ story of Jewish persecution, the guts of this tale is the conflict between brothers, and later, the internal conflicts within the greater group of forest dwellers, and their battles against the perils of winter and shortages of food and medicine.

There’s nothing wrong with Defiance. It’s a solid war/survival movie. In such a drama-rich setting, and bolstered by its ‘true war story’ roots, Defiance felt like it could have achieved more than it does. Perhaps it suffers from a slightly uninspired screenplay riddled with one too many clichés. Perhaps some of the plot points feel like the work of a screenwriter, not of a real group of war refugees. For example, one of Tuvia’s rules is ‘no pregnancies’. He doesn’t feel they can provide for the needs of babies. Well, first of all, this doesn’t allow for any women who might already be pregnant when they arrive there (of course, this very situation comes up later). Second, newborn babies receive all they need to survive from their mothers for at least the first 6 months of their life. And finally, these survivors could be living in the forest for a long time – perhaps for the rest of their lives. What is the point of just surviving if there are no children to carry on after they are gone?

Still, Defiance does get most things right. The brothers’ relationship is solid, and perhaps the movie would have benefited if Zus had not gone missing for a big chunk of the film. Tuvia is an intriguing character; I wondered why, for example, he fought so hard to maintain a level of dignity, yet he made no move to stop his people from beating the captured German soldier to death. Likewise, Zus’s character is also thought-provoking. In wartime, are violent, semi-sadistic people like him of high value? His acts of heroism were enabled at least partly by his lust for revenge and his tolerance/love of killing.

There are also excellent performances across the board, and director Edward Zwick creates a sincere and believable mood and place in time using visual imagery. That’s not something that’s easy to do, and yet he’s done it here, and he’s done it before (in The Siege). Rating: 3 of 4

Other reviewers said:
"A harrowing story of bravery and survival, Defiance tells it Hollywood-style. Still, somehow the true-story courage bleeds through the at-times hokey formula scripting."
- Ross Anthony (Hollywood Report Card)

Synecdoche, New York (2008) Review

noreply@blogger.com (Unknown) — Sat, 6 Jun 2009 08:03:00 -0700

Movie quotes:
Caden (Philip Seymour Hoffman): That was good, Tom.
Tom (Daniel London): Yeah?
Caden: Yeah.
Tom: I was trying something different. I was…crashing differently – ambivalently.

Caden: I want to ask you, how old are kids when they start to write?
Madeleine (Hope Davis): Listen, there’s an absolutely brilliant novel written by a four year old.
Caden: Really?
Madeleine: ‘Little Winky’ by Horace Azpiazu.
Caden: It’s cute.
Madeleine: Oh, hardly. Little Winky is a virulent anti-Semite. The story follows his initiation into the Klan, his immersion in the pornographic snuff industry, and his ultimate degradation at the hands of a black ex-convict named Eric Washington Jackson Jones Johnson.
Caden: Written by a four year old.
Madeleine: Jefferson.
Caden: Wow. Written by a four year old.
Madeleine: Well, Azpiazu killed himself when he was five.
Caden: Why did he kill himself?
Madeleine: I don’t know, why did you?
Caden: What?
Madeleine: I said, ‘Why would you?’

Caden: You’re weirdly close to what I’d visualized for this character.
Millicent Weems (Dianne Wiest): Glad to be weirdly close.

"Dear diary, I'm afraid I'm gravely ill. It is perhaps times like these that one reflects on things past. An article of clothing from when I was young. A green jacket. I walk with my father. A game we once played. Pretend we're fairies. I'm a girl fairy. My name is Laura Lee. And you're a boy fairy. Your name is Tita Lee. Pretend, when we're fairies we fight each other, and I say "Stop hitting me I'll die!" And you hit me again and I say, "Now I have to die." And then you say, "But I'll miss you." And I say, "But I have to. And you'll have to wait a million years to see me again. And I'll be put in a box, and all I'll need is a tiny glass of water and lots of tiny pieces of pizza and the box will have wings like an airplane." And you'll ask, "Where will it take you?" "Home." I say."
- Olive (Robin Weigert)

At a glance:
Charlie Kaufman’s directorial debut is a dense, thought-provoking, sometimes comical, sometimes puzzling examination of a middle aged playwright battling with self-worth, love and art

Our review (with spoilers):
Playwright Caden Cotard (Philip Seymour Hoffman) productions receive rave reviews, but they are safe copies of other people’s inspirations. At the same time, his relationship with partner Adele (Catherine Keener) is ending, and his body is deteriorating. Prompted by winning a prestigious award, and fighting to find meaning in his life, he begins a new project where he will demand honesty from himself and his actors. The project takes some time to come to fruition – a lot of time – years, in fact, and it is never really completed. This play about life is life, in fact – even though it is taking place on a huge warehouse-sized set and is populated with lookalikes playing the parts of each other.

For a good part of Synecdoche, I thought I was viewing a dream or alternative reality. It took a while for me to realize (or assume, anyway) that the story we were seeing was happening, albeit with chunks removed. As Caden ages, the speed at which his life passes feels very much like the way my life seems to pass too quickly now, where months and years go by in blocks that seem to be over and to fade away almost immediately. Many of us are driven to excel, or at least to cope, and that struggle leaves little time to revel in good memories from the past, or sometimes to even make the right decisions for the future.

Kaufman writes from the depths of his imagination, and here, his first writer/director film, sometimes only he might be able to follow the train of thought he is taking. It is possible that his material is improved, or at least more accessible, when forced through the prism of another director. Left to his own devices, we get unadulterated, imaginative Kaufman in all his murky glory. Despite the nightmarish fantasy, his story is grounded by moments of pure truth. For example, he absolutely nails the detached way that doctors treat patients. He has a tremendous feel for the way people in relationships speak to each other, or perhaps for the things that they think about each other. He transforms fear of living and fear of failing into tangible, in-your-face nightmarish images of a city filled with garbage and people filled with despair.

Synecdoche isn’t totally successful. The overall feeling of despair weighed me down. The final 20 minutes is almost all exposition that provides plenty of thought-provoking provocation, but little in the way of a conclusion. If that’s the point, then it is a total success. But no matter, because the film’s true value is its stunning originality, and the copious amounts of beautiful Kaufman prose.

It’s also an actor’s film. The last time I saw Samantha Morton, she was a hard-edged, emotion-challenged person in Code 46. Her transformation here is eye-popping. Emily Watson plays Morton’s double to good effect. Tom Noonan is convincing as Caden’s doppelganger – he doesn’t do an imitation; he’s just stalked the guy for 20 years, so who better to play him? Dianne Wiest is effective in a small role. Hoffman is handed a huge assignment here; he is supposed to be the consummate actor, but for some reason I find it difficult to feel empathy for him. Rating: 3 of 4

Other reviewers said:
"So dense, so complex and so downright puzzling that even Kaufman fans may balk at it."
- David Stratton (At the Movies [Australia])

"The film is either a masterpiece or a massively dysfunctional act of self-indulgence and self-laceration. It has brilliance, either way: surreal, utterly distinctive, witty, gloomy in the manner that his fans will recognise and adore."
- Peter Bradshaw (Guardian [UK])

"A difficult, maddening and elusive film that’s also intriguing, profound and darkly funny."
- Matt Bochenski (Little White Lies)