"Uh, listen, boys. I've had a rather emotional day, so whatever your beef with Eggsy is, and I'm sure it's well-founded, I appreciate it enormously if you could just leave us in peace, until I finish this lovely pint of Guinness."

"Manners maketh man."

"[To Eggsy, disappointed in him] You should be. You just stay right there. I'll sort this mess out when I get back."

"Shit. Fucking missed it. How did I fucking miss it?"

"[After watching Valentine shoot Harry via live stream] NO!!!"

"One of these days, I'm gonna smash his face in."

"I don't want your help, I want my husband back!"

"Since 1849, Kingsman Tailors have clothed the world's most powerful individuals. In 1919, a great number of them had lost their heirs to World War I. That meant a lot of money going uninherited. And a lot of powerful men with the desire to preserve peace and protect life. Our founders realised that they could channel that wealth and influence for the greater good. And so began our other venture. An independent, international intelligence agency operating at the highest level of discretion. Above the politics and bureaucracy that undermine the integrity of government-run spy organisations. A suit is the modern gentleman's armour. And the Kingsman agents are the new knights."

"Rox. Rox, I need a favour. Call my mum. Tell her to lock herself away from Dean."

"Merlin, remember those implants you said were of no use to us? Any chance you can turn them on?"

"Oi. What have I said to you about speaking to Dean like that?"

"Merlin, you're a fucking genius!"

"Just leave him alone, Dean! Eggsy, go. Please just go, babe."

"Owen Pugh — Theodor-Adorno "Theo" Strauss"

"Eleanor Wyld — Marie-Curie Fortune"

"Fisher's intelligent and imaginative narrative revisits key scenes from different, ever wider perspectives—and will leave viewers mentally revisiting them for days afterwards as they try to disentangle what is at once a star-crossed romance, an allegory of (class) discord and (musical) harmony, and a theological investigation into nature and nurture, free will and determinism."

"Daniel Fraser — Isaac-Newton "Zak" Midgeley"

"Are you hungry for true ideas-fueled science fiction? Do you lament that we so rarely see such things in movies? Then here is a film to warm the cockles of your geeky heart. For here we have a low-budget—I'm gonna guess ultra-low-budget—little British tale from a slightly parallel universe where everyone has a "frequency.""

"Frequencies ends up, electrifyingly, in an insanely bonkers and kind of amazing place where words have literally power and free will and creativity are up in the air. This is incredibly ambitious and profoundly provocative science fiction drama that you must see if you value thought as much as you do action in your cinema."

"Frequencies is a detached film, with a tone that takes some warming up to. The narrative takes place at a deliberate distance from the audience, leaving us silent observers even more than most films."

"While the detached, deadpan tone and occasionally stilted acting might leave some viewers flat, there’s no doubting the fierce intelligence behind this admirable puzzle box of a movie."

"Better still, it's elegant and moving. It generates its own resonance."

"Fisher never subordinates his big ideas to the usual chase scenes or manufactured love conflicts less confident filmmakers use to candy up such material. That's great—too bad that, in the final third, the movie also doesn't subordinate those ideas to its own story, or to its earlier elegance of construction. Instead the ideas swell up, multiply like Tribbles, and finally encompass mind control, ancient conspiracies, questions of free will versus determinism, and what your brain is doing when it somehow knows a melody it's never heard before."

"The film touches on a lot of themes—class inequality, determinism and free will—but it most speaks to the part of us that wants to believe that we can live outside of our potential. This is a story of a boy who's told again and again that he can't be who he wants to be, can't do what he wants to do, can't love who he wants to love—and he devotes himself, body, mind and soul, to the pursuit of dissolving those barriers. In doing so, Zak not only belies the debate of nature versus nurture, he proves that sheer will can overcome the mightiest of obstacles."

"The promise of Surrealism is that there is no explanation. But the gentle mysteries of such imagery gives way to gushing précis of everything much later on, the connections between Mozart and a government cover-up and the science-fair projects the leads conducted a decade before all laid out in monologues."

"Mrs. Fortune: [to Isaac-Newton "Zak" Midgeley] You steal people's frequencies."

"Mr. Strauss: When Mozart plays, we are all the same frequency."

"It's a romance and a philosophical experiment, and it's also a science fiction film of the best kind: one that favors ideas over special effects. Fisher creates a fully-realized new world in Frequencies, and he does it with words and concepts instead of computer graphics and creatures."

"The world's first Scientific-Philosophical romance."

"Various: Knowledge determines destiny."

"Like youth itself, the opening of Frequencies—an uncommonly ambitious science-fiction romance—is sparkling and unsettling at once."

"I have a 210 I.Q. I never needed to take notes. I just didn't want to always have to look at people or have them looking at me. It's the eyes."

"I've never waited for a train before."

"You have to have choice."

"I feel…connected…to myself."

"Nature needs constant nurturing."