Action films

"Trust me babe, if I say there is caviar in the hills, You bring the crackers"

"Here's the deal, meatball: You let me go, I let you live."

"You're not only one who knows some shit"

"Hey, brother... AMERICAN FOOTBALL!"

"For you, killing your son was like running a over a dog in the street. Just something in your way."

"I'll let fate decide what to do with you. If the police don't get you, the other Chinese families will. Do what you will, Father, but this time, no one will go to prison for you."

"I can't hit a girl."

"People don't get soft in prison."

"Great country. Free cars."

"Look, I don't know how it is in China, but in America, if a girl is kicking your ass you do not have to be a gentleman."

"I'd have to see that."

"Yeah, well dead giveaway. Besides, you drive like crap"

"Do I know you?"

"Right, right. What's your name again? Something starts with an M..."

"So, Ahkbar, tell me, is it true what they say about Hong Kong?"

"You missed me? I'm gonna miss you when my father finds out you're here."

"I can take care of myself."

"Hey Dimsum, You's a real funny man."

"Name's Maurice....Bitch!"

"Trish, I'm gonna find your Aaliyah-looking ass, I know where you work at!"

"Where my drink, man?"

"Some you win;.....and Dim Sum, You Lose..."

"Guns don't kill people. People kill people."

"Like I told your punk ass before: I ain't selling shit."

"Sorry, Romeo, but you gotta die."

"Dang! That's some cold shit!"

"If my calculations are correct, when this baby hits 88 miles per hour, you're gonna see some serious shit."

"Next Saturday night, we're sending you back to the future!"

"I'm sure that in 1985, plutonium is available in every corner drugstore, but in 1955, it's a little hard to come by."

"Great Scott!"

"Since you're new here, I-I'm gonna cut you a break, today. So, why don't you make like a tree and get outta here?"

"Meet Marty McFly. He's broken the time barrier. Busted his parents' first date. And, maybe, botched his chances of ever being born."

"17-year-old Marty McFly got home early last night. 30 years early."

"Marty McFly just broke the time barrier. He's only got one week to get it fixed."

"Marty McFly's having the time of his life. The only question is—what time is it?"

"He was never in time for his classes... He wasn't in time for his dinner... Then one day... he wasn't in his time at all."

"Bumping into your parents is no big deal unless you bump into them before you were born."

"He's the only kid ever to get into trouble before he was born."

"Hello? Anybody home? Think McFly, Think!"

"Marty McFly has just come between the most unlikely couple in high school... His parents."

"Marty McFly's future is catching up with him."

"Marty McFly took a spin in a new sports car last night. But he never got past '55. 1955."

"The story of a young man with a great future behind him."

"Marty's parents were destined to meet in 1955. Until Marty dropped in from the future."

"Before rock and roll , Before diet soda , Before designer jeans , running shoes and video games… One boy had a vision of what was to come — because he had just been there."

"Michael J. Fox — Marty McFly"

"Christopher Lloyd — Doc Brown"

"Thomas F. Wilson — Biff Tannen"

"Lea Thompson — Lorraine McFly"

"Crispin Glover — George McFly"

"James Tolkan — Mr. Strickland"

"Donald Fullilove — Goldie Wilson"

"Claudia Wells — Jennifer Parker"

"Harry Waters Jr. — Marvin Berry"

"I cannot imagine what kind of callous moron could possibly see anything in being a victim of bullying. Maybe the idea comes from our cultural propaganda, where the bullied nerd, like Back to the Futures McFly, always fights back in the triumphant climax, becomes a stronger person for it, and goes on to be a successful patron of a nuclear family, while the bully winds up washing his car. Bullying, in our cultural propaganda, is simply a dramatic plot device which the hero overcomes. Rarely, if ever, is it represented as it really works- as something privately eating away at kids, flat and uninteresting, and never overcome."

"Bob Zemeckis and I had written three movies together, and we had always wanted to do a time-travel story. We'd just never figured out how. What turned the light on for me was coming across my dad's old high-school yearbook and thinking, "Would we have been friends if we'd been at school together?" All of us have that revelation when we understand that our parents were young once, too. That's a big moment. Then there is the message that we all have control over our destinies. I thought we could dramatise those two things."

"I think the first film resonates so well with audiences because of the element of wish-fulfilment at its heart. We've all said to ourselves, "I wish I could go back in time and change something" or, "If only I could do that over again.""

"Come with me if you want to live."

"[When Sarah proceeds to crush the terminator with a hydraulic press] You're terminated, fucker!"

"In the 21st century, a weapon will be invented like no other. This weapon will be powerful, versatile and indestructible. It can't be reasoned with. It can't be bargained with. It will feel no pity. No remorse. No pain. No fear. It will have only one purpose: to return to the present and prevent the future. This weapon will be called...The Terminator."

"It came from a war-torn future to destroy the past. Its target: an ordinary woman - Sarah Connor. Her only ally: another traveler through time."

"The machines rose from the ashes of the nuclear fire. Their war to exterminate mankind had raged for decades, but the final battle would not be fought in the future. It would be fought here, in our present. Tonight..."

"In the Year of Darkness, 2029, the rulers of this planet devised the ultimate plan. They would reshape the Future by changing the Past. The plan required something that felt no pity. No pain. No fear. Something unstoppable. They created the Terminator."

"The thing that won't die, in the nightmare that won't end."

"Your future is in its hands."

"There is no fate but what we make for ourselves."

"Before Terminator came out I began to hear from people, 'Gee, there's this script they're going to shoot that reads an awful lot like your script for Soldier. Now Soldier had been available on videocassette for many years. Demon with a Glass Hand had won all the awards but Soldier was right there in popularity."

"Arnold Schwarzenegger – Terminator"

"Michael Biehn – Kyle Reese"

"Linda Hamilton – Sarah Connor"

"Paul Winfield – Lieutenant Ed Traxler"

"Lance Henriksen – Detective Hal Vukovich"

"Bess Motta – Ginger Ventura"

"Earl Boen – Dr. Peter Silberman"

"Rick Rossovich – Matt Buchanan"

"I need your clothes, your boots, and your motorcycle."

"[offers his hand to Sarah Connor] Come with me if you want to live."

"Stay here. I’ll be back."

"Three billion human lives ended on August 29, 1997. The survivors of the nuclear fire called the war Judgment Day. They lived only to face a new nightmare: the war against the Machines. The computer which controlled the machines, Skynet, sent two Terminators back through time. Their mission: to destroy the leader of the human Resistance, John Connor, my son. The first Terminator was programmed to strike at me, in the year 1984, before John was born. It failed. The second was sent to strike at John himself, when he was still a child. As before, the Resistance was able to send a lone warrior, a protector for John. It was just a question of which one of them would reach him first."

"Watching John with the machine, it was suddenly so clear. The Terminator would never stop. It would never leave him. It would never hurt him, never shout at him, or get drunk and hit him, or say it was too busy to spend time with him. It would always be there. And it would die to protect him. Of all the would-be fathers who came and went over the years, this thing, this machine was the only one that measured up. In an insane world, it was the sanest choice."

"[epilogue] The unknown future rolls toward us. I face it for the first time with a sense of hope, because if a machine, a Terminator, can learn the value of human life, maybe we can too."

"[alternate epilogue] August 29, 1997, came and went. Nothing much happened. Michael Jackson turned 40. There was no Judgment Day. People went to work as they always do. Laughed, complained, watched TV, made love. I wanted to run to through the street yelling to grab them all and say, "Every day from this day on is a gift. Use it well." Instead, I got drunk. That was 30 years ago. But the dark future which never came still exists for me. And it always will, like the traces of a dream. John fights the war differently than it was foretold. Here, on the battlefield of the Senate, his weapons were common sense and hope. The luxury of hope was given me by the Terminator. Because if a machine can learn the value of human life, maybe we can too."

"[carved into a table] NO FATE"

"Note: bolded portion is ranked #76 in the American Film Institute's list of the top 100 movie quotations in American cinema"

"Ten years ago, the machines who rule the future sent an unstoppable Terminator to assassinate the yet unborn John Connor. They failed. In 1991, the machines will try again."

"The future is not set."

"It's nothing personal."

"He said he'd be back."

"This time there are two."

"Same Make. Same Model. New Mission."

"[from teaser] They know its face. They know its mission. But there's one thing they don't know: This time there are two."

"[from teaser] One programmed to destroy. The other programmed to protect."

"[from trailer] Once he was programmed to destroy the future. Now his mission is to protect it."

"[from trailer] His loyalty is to a child, and his enemy is the deadliest machine ever built."

"[from trailer] If you thought you had seen it all...look again."

"[from trailer] This time, he's back...for good."

"Arnold Schwarzenegger – The Terminator, T-800"

"Linda Hamilton – Sarah Connor"

"Edward Furlong – W:John Connor"

"Robert Patrick – T-1000"

"Earl Boen – Dr. Peter Silberman"

"Joe Morton – Dr. Miles Bennett Dyson"

"S. Epatha Merkerson – Tarissa Dyson"

"Castulo Guerra – Enrique Salceda"

"Danny Cooksey – Tim"

"Jenette Goldstein – Janelle Voight"

"Xander Berkeley – Todd Voight"

"On T2, I wondered if I could get the audience to an emotional place where they would cry for the Terminator. That was my goal: Could I take world's coldest motherfucker and turn you around in a two-hour time period to where you actually felt sorry for him? Forget about all the hoo-ha with the liquid metal guy: that was fun, but getting the audience to cry for the Terminator was the big cinematic challenge. That's the reason I made the movie."

"[after downing an alien ship via parachute; in crazed relief] THAT'S RIGHT! THAT'S RIGHT! [struggling with the parachute] Get offa me, get offa me! THAT'S WHAT YOU GET! HAHA! Look at you! Ship all banged up! WHO'S DA MAN?! HUH?! WHO'S DA MAN?! Wait till I get another plane! I'm linin' all of your friends up, right beside you! [climbs onto the alien ship] Where you at, huh?! Huh?! Where you at?! [the alien pilot emerges, but he punches it and knocks it out] Welcome to Earth! [puts a cigar in his mouth] Now that's what I call a "close encounter.""

"[to the unconscious alien] Y'know, this was supposed to be my weekend off. But no! You got me out here, draggin' your heavy ass, through the burnin' desert, with your dreadlocks stickin' out the back of my parachute. You gotta come down here with an attitude, actin' all big and bad. AND WHAT THE HELL IS THAT SMELL?! [screams and kicks the alien] I could've been at a barbecue!...But I ain't mad. It's all right."

"[to the pilots at Area 51 before the mass sortie] Good morning. [turns on mic] Good morning. In less than an hour, aircraft from here will join others from around the world, and you will be launching the largest aerial battle in the history of mankind. [pauses] Mankind. That word should have new meaning for all of us today. We can't be consumed by our petty differences anymore. We will be united in our common interests. Perhaps it's fate that today is the Fourth of July, and you will once again be fighting for our freedom. Not from tyranny, oppression, or persecution… but from annihilation. We're fighting for our right to live. To exist. And should we win the day, the Fourth of July will no longer be known as an American holiday, but as the day when the world declared in one voice: We will not go quietly into the night! We will not vanish without a fight! We're going to live on! We're going to survive! Today, we celebrate our Independence Day!"

"EARTH: Take a good look. It could be your last."

"We've always believed we weren't alone. On July 4, we'll wish we were."

"The question of whether or not we are alone in the universe...has been answered."

"Don’t make plans for August."

"WARNING! Your next stop may not be there."

"On the Fourth of July, you will have a ringside seat for the ultimate fireworks show."

"They only want one thing...DESTRUCTION."

"On July 2, they arrive. On July 3, they strike. On July 4, we fight back."

"A war is on, pitting superior alien technology against Humankind's will to survive. The odds are even."

"Today, the human race celebrates their Independence Day."

"Enjoy the Super Bowl - it may be your last."

"All of this feeds into a sliding scale of villain power. Culminating with the aliens of Independence Day. Notice, in that case, that you no longer need incompetence or corruption of our institutions. Jeopardy takes care of itself. The invaders are so badass that even the United States government and military are allowed to simultaneously be both capable and good! In order to provide spear-carrier support for the two or three point-of-view heroes."

"At one point the news comes that New York, Washington and Los Angeles have been destroyed, and is there grief? Despair? Anguish? Speculation about what that will mean for professional sports? Not a bit – the characters nod and hurry on to the next scene."

"I felt guilty about making my work look so good. I started thinking maybe I did my job too well, and it might have been the nucleus of an idea for someone to say: ‘Hey, let’s crash a plane into the White House.’"

"Bill Pullman - President Thomas Whitmore"

"Margaret Colin - Constance Spano"

"Jeff Goldblum - David Levinson"

"Will Smith - Captain Steve Hiller, USMC"

"Robert Loggia - Gen. William Grey, USMC"

"Vivica A. Fox - Jasmine Dubrow"

"Randy Quaid - Russell Casse"

"Judd Hirsch - Julius Levinson"

"Revenge is a dish best served cold."

"[To The Bride] Do you find me sadistic? You know, I'll bet I could fry an egg on your head right now if I wanted to. No, Kiddo, I'd like to believe you're aware enough, even now, to know there's nothing sadistic in my actions. Maybe towards those other jokers, but not you. No, Kiddo, this moment, this is me at my most ... masochistic."

"[To Sofie] One more thing Sofie, is she aware her daughter is still alive?"

"It's mercy, compassion and forgiveness I lack. Not rationality."

"Just because I have no wish to murder you before the eyes of your daughter does not mean parading her around in front of me is going to inspire sympathy. You and I have unfinished business. And not a goddamn fucking thing you've done in the subsequent four years, including getting knocked up, is going to change that."

"[to Nikki, Vernita Green's daughter, after killing Vernita] It was not my intention to do this in front of you. For that, I'm sorry. But you can take my word for it, your mother had it coming. When you grow up, if you still feel raw about it, I'll be waiting."

"When fortune smiles on something as violent and ugly as revenge, it seems proof like no other that not only does God exist, you're doing his will."

"[about O-Ren] O-Ren Ishii was born on an American military base in Tokyo, Japan. The half-Japanese, half-Chinese American army brat made her first acquaintance with death at the age of 9. It was that age she witnessed the death of her parents at the hands of Japan's most ruthless Yakuza boss, Boss Matsumoto. She swore revenge. Luckily, for her, Boss Matsumoto was a pedophile. At 11, she got her revenge. By 20, she was one of the top female assassins in the world. At 25, she did her part in the killing of 9 innocent people, including my unborn daughter, in a small wedding chapel in El Paso, Texas. But on that day, four years ago, she made one big mistake. She should've killed 10."

"So, O-Ren... Any more subordinates for me to kill?"

"[punctuating each word by spanking a boy with the flat side of her sword] This - is what - you get - for fucking - around - with Yakuzas! Go home to your mother!"

"[in Japanese] Those of you lucky enough to still have your lives, take them with you! But leave the limbs you have lost. They belong to me now. [to Sofie, in English] Except you, Sofie! You stay right where you are!"

"O-REN ISHII! Shoubu wa mada tsuicha inai yo! [calling out O-Ren in Japanese: "You and I have unfinished business!"]"

"[to Sofie] I am gonna ask you questions. And every time you don't give me answers, I'm gonna cut something off. And I promise you, they will be things you will miss. Give me your other arm!"

"As I said before, I've allowed you to keep your wicked life for two reasons. And the second reason is so you can tell him [Bill] in person everything that happened here tonight. I want him to witness the extent of my mercy by witnessing your deformed body. I want you to tell him all the information you just told me. I want him to know what I know. I want him to know I want him to know. And I want them all to know they'll all soon be as dead as O-Ren."

"I might never have liked you. Point in fact, I despised you. But that shouldn't suggest that I don't respect you. Dying in our sleep is a luxury that our kind is rarely afforded. My gift to you."

"Thought that was pretty fucking funny, didn't you? Word of advice, shithead: don't you ever wake up."

"Funny. You like samurai swords; I like baseball. [throws a ball at the Bride, who slices it in midair]"

"I've done what I swore an oath to God twenty-eight years ago to never do again. I've created "something that kills people". And in that purpose, I was a success. I've done this because, philosophically, I'm sympathetic to your aim. I can tell you, with no ego, this is my finest sword. If, on your journey, should you encounter God, God will be cut."

"For those regarded as warriors, when engaged in combat, the vanquishing of thine enemy can be the warrior's only concern. Suppress all human emotion and compassion. Kill whoever stands in thy way, even if that be Lord God or Buddha himself. This truth lies at the heart of the art of combat."

"Revenge is never a straight line. It's a forest, and like a forest it's easy to lose your way ... to get lost ... to forget where you came in."

"[after she cuts off Boss Tanaka's head, in Japanese] So that you understand how serious I am.... I'm going to say this in English. [puts her sword down and says to her councilmen in English while Sofie translates] As your leader, I encourage you, from time to time and always in a respectful manner, to question my logic. If you're unconvinced a particular plan of action I've decided is the wisest, tell me so! But allow me to convince you. And I promise you, right here and now, no subject will ever be taboo ... except, of course, the subject that was just under discussion. The price you pay for bringing up either my Chinese or American heritage as a negative is – I collect your fucking head. [holds up Tanaka's head] Just like this fucker here. Now, if any of you sons of bitches got [raises her voice] ANYTHING ELSE TO SAY, NOW'S THE FUCKING TIME!!! [pause, in a calm voice] I didn't think so. [drops Tanaka's head on the table and says to her councilmen in Japanese] Gentlemen, this meeting is adjourned."

"[in Japanese] Swords, however, never get tired. I hope you saved your energy. If you haven't... You may not last five minutes. But as last looks go, you could do worse."

"Silly Caucasian girl likes to play with samurai swords. You might not be able to fight like a samurai, but you can at least die like a samurai."

"That really was a Hattori Hanzo sword. [falls dead, the top of her head slashed off]"

"Vernita Green: Black Mamba. I should have been motherfucking Black Mamba."

"Buck: My name is Buck, and I'm here to fuck."

"Sofie: [in French] Burn in hell, you stupid, stupid blonde! I'll tell you nothing!"

"Sofie: Guessing won't be necessary. She informed me."

"Budd: [on The Bride] That woman...deserves her revenge. And we...deserve to die."

"Here comes the bride."

"In 2003, Uma Thurman will Kill Bill."

"On October 10, speak softly and carry a big sword."

"During the 1970s there was a queasy urban myth that, in New York cinemas, drug dealers were skulking down the aisles at midnight shows jabbing innocent moviegoers with needles, so instantly enslaving them to heroin. After one single viewing of Kill Bill Volume 1, starring Uma Thurman - Quentin Tarantino's first movie for six years - I felt like the director himself had cacklingly jammed his hypodermic into my throbbing arm. Really, no one delivers that sheer, aneurism-inducing rush with the same intravenous efficiency as Tarantino. It may not be the best film of the year, nor the best Tarantino film. But it's sure as hell got to be the best way, the only way, to mainline pure adrenaline in the cinema. Whether this results in euphoria or nausea depends on the needle-user. Brutally bloody and thrillingly callous from first to last, Kill Bill covers its action in a kind of delirium-glaze. Its storyline rolls out in a simulacrum universe, a place which looks and sounds like planet Earth in the early 21st century, but isn't. It's a martial- arts movie universe where the normal laws of economics, police work, physiology and gravity do not apply: a world composed of a brilliantly allusive tissue of spaghetti western and Asian martial-arts genres, on which the director's own, instantly identifiable presence is mounted as a superstructure."

"Blood doesn't just flow in Quentin Tarantino's "Kill Bill-Vol. 1"—it splatters and spurts and rises in fountains so baroque and luxuriant that there are moments when it seems as if it were raining red. It isn't, but only because there's little in this private fetish of a movie that relates to the natural world. Despite the occasional glimpse of the not-so-great outdoors, the first half of Tarantino's two-part anti-epic isn't about life—it's about movie-made death in all its spectacular and foolish excess."

"A blood-soaked valentine to movies, "Vol. 1" is the ultimate film-geek freakout, a compendium of 1960s and 1970s cine-references from blaxploitation to Japanese yakuza, classic chopsocky and spaghetti westerns. But this is no ordinary movie love. From the moment that the logo "ShawScope" flashes in the opening credits (a nod at the legendary Hong Kong studio), it's apparent that Tarantino is striving for more than an off-the-rack mash note or a pastiche of golden oldies. It is, rather, his homage to movies shot in celluloid and wide, wide, wide, wide screen—an ode to the time right before movies were radically secularized, before they were slabs of plastic to be rented, slapped into a home-video player, tossed and forgotten in the backseat of a car. Back to the moment when moviegoing was our great collective ritual."

"There's something sweet about Tarantino—it's his old-time religion. In "Vol. 1" he uses snatches of music from one type of movie—say, a snippet from one of Ennio Morricone's scores for a Sergio Leone western—and lays it over a bit of Japanese-flavored mayhem. Sampling movies like a D.J., Tarantino uses other artists' beats and images to scratch out his own tune. This sort of playful mix-master technique has its seductions, but there are dangers to getting hooked on other people's genius. The penultimate battle royale in a Japanese nightclub has moments of great graphic beauty amid the spurting severed limbs, yet the scene's most stunning tableau—a silhouette of the Bride squaring off against some heavies—is borrowed from Seijun Suzuki, an eccentric master of the yakuza film. This kind of mad movie love explains Tarantino's approach and ambitions, and it also points to his limitations as a filmmaker. His multiple references are inescapably entertaining—it's like watching a movie programmer strut his cool stuff—but there can be something distracting about them as well."

""Kill Bill, Volume 1" shows Quentin Tarantino so effortlessly and brilliantly in command of his technique that he reminds me of a virtuoso violinist racing through "Flight of the Bumble Bee"—or maybe an accordion prodigy setting a speed record for "Lady of Spain." I mean that as a sincere compliment. The movie is not about anything at all except the skill and humor of its making. It's kind of brilliant."

"The movie is all storytelling and no story. The motivations have no psychological depth or resonance, but are simply plot markers. The characters consist of their characteristics. Lurking beneath everything, as it did with "Pulp Fiction," is the suggestion of a parallel universe in which all of this makes sense in the same way that a superhero's origin story makes sense. There is a sequence here (well, it's more like a third of the movie) where The Bride single-handedly wipes out O-Ren and her entire team, including the Crazy 88 Fighters, and we are reminded of Neo fighting the clones of Agent Smith in "The Matrix Reloaded," except the Crazy 88 Fighters are individual human beings, I think. Do they get their name from the Crazy 88 blackjack games on the Web, or from Episode 88 of the action anime "Tokyo Crazy Paradise", or should I seek help? The Bride defeats the 88 superb fighters (plus various bodyguards and specialists) despite her weakened state and recently paralyzed legs because she is a better fighter than all of the others put together. Is that because of the level of her skill, the power of her focus, or the depth of her need for vengeance? Skill, focus and need have nothing to do with it: She wins because she kills everybody without getting killed herself. You can sense Tarantino grinning a little as each fresh victim, filled with foolish bravado, steps forward to be slaughtered. Someone has to win in a fight to the finish, and as far as the martial arts genre is concerned, it might as well be the heroine. (All of the major characters except Bill are women, the men having been emasculated right out of the picture.) "Kill Bill, Volume 1" is not the kind of movie that inspires discussion of the acting, but what Thurman, Fox and Liu accomplish here is arguably more difficult than playing the nuanced heroine of a Sundance thumb-sucker. There must be presence, physical grace, strength, personality and the ability to look serious while doing ridiculous things. The tone is set in an opening scene, where The Bride lies near death and a hand rubs at the blood on her cheek, which will not come off because it is clearly congealed makeup. This scene further benefits from being shot in black and white; for QT, all shots in a sense are references to other shots—not particular shots from other movies, but archetypal shots in our collective moviegoing memories."

"There's B&W in the movie, and slo-mo, and a name that's bleeped entirely for effect, and even an extended sequence in anime. The animated sequence, which gets us to Tokyo and supplies the backstory of O-Ren, is sneaky in the way it allows Tarantino to deal with material that might, in live action, seem too real for his stylized universe. It deals with a Mafia kingpin's pedophilia. The scene works in animated long shot; in live action closeup, it would get the movie an NC-17."

"To see O-Ren's God-slicer and Go-Go's mace clashing in a field of dead and dying men is to understand how women have taken over for men in action movies. Strange, since women are not nearly as good at killing as men are. Maybe they're cast because the liberal media wants to see them succeed. The movie's women warriors reminds me of Ruby Rich's defense of Russ Meyer as a feminist filmmaker (his women initiate all the sex and do all the killing)."

"There were a lot of close calls. [Uma] biffed her knee really hard on the couch trying to go over [it]. I got cut with a little bit of glass, landing on that table. I think that that was the one day I wanted to choke Quentin because he didn't realize how hard the table was... I wanted to put a mat down there so I could warm up. And he was like, 'Just get up there and do it.' And I was like, 'Do you know how hard that table is?' So, that was the only day that there was a little bit of grief. And that table, when I landed on it, I landed so hard that my jaw snapped. There were times when you kind of missed or nicked each other, when Uma cocked it a little bit too hard. We filmed it for four days, the fight scene, and I was just covered with bruises and my shoulders were really tired."

"We went out to Kushiyu on Ventura in Tarzana. At dinner, he told me his plan for the film: There would be no quick cuts or getting away with special effects to make us look like real warriors. I had to commit to six months of training, and all of the actors needed to become experts in martial arts to make his vision real on the screen."

"For three months, Uma Thurman, Lucy Liu, Daryl Hannah, David Carradine, and I spent eight hours a day studying martial arts at a gym they put together in Culver City. It was nine to five, Monday through Friday. If you didn't walk in the door between 8:55 and 8:59, you were in trouble at 9:01. I thought I was in the damn Olympics or something."

"Compared to Q.T.'s slice 'em, dice 'em deli, the much-hyped Neo versus 100 Agent Smiths showdown appears unforgivably gutless and soulless. Moral guardians may be outraged but, after a build that most audiences will find slow, it is the bloody geysers Tarantino uncorks here that will have them joining the queue for the very next showing."

"I actually didn't think she was tough. I didn't, I thought she was a really cool character to play because she was a survivor, you know what I mean? She had so many reasons why she had become what she was. She had to continue fighting all her life to basically stay alive, from the moment that her parents were killed. He (Tarantino) pretty much lays it out for you... O-Ren Ishii wasn't the type of person who was ever gonna die peacefully in her bed, you know what I mean? She was going to die fighting and that was how it was gonna be. She died the best way that she could have ever imagined, with the Hattori Hanzo sword. So ultimately, it was a very respectful death, and I think her character is more of a survivor than someone who's tough, you know?"

"It's a really important moment... I didn't think it was gory, because it wasn't a lot of blood, it was just the head was gone, at the end. I just feel like it represents how important it was for her to go to Japan and get that sword made by Sonny Chiba's character, Hattori Hanzo. Hattori Hanzo's sword is in itself its own individual character in the movie. And to have that payoff in the end, with how strong it was, it could just slice her head off like that, through a skull, which is very difficult to do. It really takes, it comes all the way back around for why she went to get that sword and why it was important, and how for her character, she had always wanted one of those swords. To die by that sword is really the only way that she could have died with respect. I think the Bride knew that. So they sort of allow each other the respect that they deserved... You'd have to think that if you do something that's not such a great thing, even though she was taking orders from Bill, that it's going to come back at you, and you have to take responsibility for that moment. I think that she probably knew at some point that that was going to happen."

"In an interview following the release of Reservoir Dogs in 1992, Tim Roth ventured that "I honestly think you could take the same script but reshoot it with women and it would work. It would be the most controversial film ever. ... You could call it Reservoir Bitches." It took more than a decade, but with Kill Bill Volume 1 (out on video this week), Quentin Tarantino finally made his Reservoir Bitches. And while it's not the most controversial film ever (nor even of the past twelve months), that was clearly the director's aspiration. Originally conceived as a single film but split into two "volumes" due to its length (Volume 2 opens in theaters on Friday), Kill Bill is, by most accounts, the most violent film ever released by a major studio. If that weren't enough to ensure its notoriety, the vast majority of that violence is performed by officially hot actresses Uma Thurman, Lucy Liu, and Vivica A. Fox."

"The violence is ridiculous, in the literal sense of the word: When a baddie (there are no goodies) is decapitated, the neck-stump sprays blood like an infernal lawn sprinkler. These abattoir antics might amuse in limited doses (though John Cleese's Black Knight proved 30 years ago that the joke is not in the mutilation but in the obliviousness to it). Yet transgressing limits is Tarantino's whole point, and so we get stabbing after stabbing, severed limb after severed limb, arterial spray after arterial spray, until the walls are painted red and the floor piled high with body parts. And though the carnage is composed by famed martial-arts choreographer Yuen Woo-Ping, it lacks both the athletic poetry he brought to Crouching Tiger, Hidden Dragon and the dizzying spatial geometry he presented in The Matrix. Rather, with the exception of a single sequence featuring a ball-and-chain, the fight in the restaurant (which runs to more than 20 minutes) feels like what it is: a long, mostly earthbound slog through bone and sinew. By the end, it's not funny, or beautiful, or even shocking. It's merely tiresome, an hour spent at the Safeway meat counter."

"WITH its relentless bloodshed and scrambled, inconclusive narrative, Quentin Tarantino's long-awaited fourth feature, Kill Bill: Vol. 1, is certain to provoke both awe and revulsion. The film's detractors and its fans are likely to agree, however, that the movie, a densely referential pastiche of B-movie attitudes and situations, is above all an exercise in style."

"In parts of Pulp Fiction (1994) and in his last picture, Jackie Brown (1997), Mr. Tarantino seemed to be using the action-exploitation formulas of which he is so enamored as stepping stones toward an exploration of plausible characters and authentic emotions. Now, it seems, his interests have swung in the opposite direction, and he has immersed himself, his characters and his audience in a highly artificial world, a looking-glass universe that reflects nothing beyond his own cinematic obsessions."

"While being so relentlessly exposed to a filmmaker's idiosyncratic turn-ons can be tedious and off-putting, the undeniable passion that drives Kill Bill is fascinating, even, strange to say it, endearing. Mr. Tarantino is an irrepressible showoff, recklessly flaunting his formal skills as a choreographer of high-concept violence, but he is also an unabashed cinephile, and the sincerity of his enthusiasm gives this messy, uneven spectacle an odd, feverish integrity. Old movies are not the sole focus of his obsession. The most vivid emotional connection in Kill Bill does not take place between any of the characters, but between the director and his star, Uma Thurman. Mr. Tarantino has referred to Ms. Thurman as my actress, and as Marlene Dietrich to his Josef von Sternberg. Accordingly, much of the perverse energy of Kill Bill arises from his near-maniacal fascination with her. She is at once his idol, his alter-ego, his dream lover and his muse, the way Anna Karina was for Jean-Luc Godard in the early 1960's."

"The sordid creepiness that occasionally seeps into Kill Bill makes you wonder what Mr. Tarantino is trying to do, and whether he is entirely in control of his own imagination."

"Q: Kill Bill is an eclectic movie, stitched together from samurai movies, Yakuza movies, spaghetti westerns..."

"I don't like realistic violence. In fact, I don't really like violence full stop. The violence is Quentin's thing. I don't groove with him on it. But I think the way he executes his violence is comic, creative, dramatic and playful, and not titillating in that horrifically realistic way. It's clearly a creative expression. If you look at the House of Blue Leaves sequence in Kill Bill Volume 1, the reason he wanted it to be so operatic and absurdist was because, if it had been less ridiculous, it would be more upsetting."

"Like a dick-swinging flasher, Quentin Tarantino lets all his obsessions hang out in Kill Bill: Vol. 1. Some people may want to kill him for it, and not just because they'll have to pay again to see Vol. 2, set for release on February 20. Kill Bill is an act of indecent exposure. Everything that makes Tarantino tumescent — kung-fu fighting, samurai flicks, spaghetti westerns and babe-on-babe head bashing, preferably with swords — is stuffed into the 110 minutes of Vol. 1. No use hammering Tarantino for raiding the lost ark of 1970s pop culture when his movie is killingly funny, wildly inventive, bloody as a gushing artery and heart-stoppingly beautiful. Tarantino has the talent to show us what's sacred about the profane, even if you didn't enjoy a misspent youth in seedy theaters with floors sticky from God knows what. In Kill Bill, Tarantino brings delicious sin back to movies — the thrill you get from something down, dirty and dangerous."

"For Tarantino, who set aside his skill at dialogue to show he can do pure action, the film is a challenge to his ego. Ads trumpet Kill Bill as “the Fourth Film by Quentin Tarantino.” Talk about hubris. Fellini didn't even start counting till 8 1/2. But moxie is part of Tarantino's DNA. Who else would make his first film in six years a wet kiss to kung fu and pack it with his fetishes for ultraviolence, Uma Thurman's feet and music from Nancy Sinatra to RZA? And who else could pull it off? Kill Bill is damn near as good as Tarantino thinks it is."

"David Carradine – Bill/Snake Charmer"

"Uma Thurman – The Bride/Black Mamba"

"Lucy Liu – O-Ren Ishii/Cottonmouth"

"Sonny Chiba – Hattori Hanzo"

"Chiaki Kuriyama – Gogo Yubari"

"Daryl Hannah – Elle Driver/California Mountain Snake"

"Vivica A. Fox – Vernita Green/Copperhead"

"Personally, I liked the University. They gave us money and facilities, we didn't have to produce anything! You've never been out of college! You don't know what it's like out there! I've worked in the private sector. They expect results."

"Ah, If there's a steady paycheck in it, I'll believe anything you say."

"[last line] I love this town!"

"Rarely has a movie this expensive provided so many quotable lines."

"Catching the un-dead is their life. It's not a pretty job...especially the way they do it. But somebody has to."

"They're Here To Save The World."

"Coming To Save The World This Summer."

"We're Ready To Believe You."

"Who you going to call? Ghostbusters!"

"The supernatural spectacular"

"They ain't afraid of no ghost."

"The world's most successful comedy"

"No spook, specter, or haunt will ever be safe again."

"Bill Murray - Dr. Peter Venkman"

"Dan Aykroyd - Dr. Raymond Stantz"

"Harold Ramis - Dr. Egon Spengler"

"Sigourney Weaver - Dana Barrett"

"Rick Moranis - Louis Tully"

"Annie Potts - Janine Melnitz"

"Ernie Hudson - Winston Zeddmore"

"William Atherton - Walter Peck"

"David Margulies - Mayor"

"Slavitza Jovan - Gozer"

"Paddi Edwards - Gozer (voice)"

"Frank Welker - Zuul (voice)/Slimer (voice)"

"[At a bar, talking to Rusty] ...And Saul makes ten. Ten oughta do it, don't you think? [Rusty says nothing] You think we need one more? [Rusty still says nothing] You think we need one more. [Yet again, Rusty says nothing] All right, we'll get one more."

"[Greeting everyone for the first time] Good evening. Welcome. Everybody full? Looks like it. Everybody sober? Close enough. Let me just start by saying that nobody's on the line just yet, but what I'm about to show you is risky and extremely dangerous. If that doesn't sound like your particular brand of vodka, help yourself to as much food as you'd like, have a safe journey, no hard feelings. Otherwise, come with me."

"[Exposing Frank's criminal past to Benedict while pretending to be from the Nevada Gaming Commission] Apparently, he's got a record longer than my... well, it's long."

"You guys are pros. The best. I'm sure you can make it out of the casino. Of course, lest we forget, once you're out the front door, you're still in the middle of the fucking desert!"

"[After Danny and his crew shows up at his door] Did you guys get a group rate or something?"

"[With another crew, attempts to rob a vault. As he steps inside, the alarm goes off] Oh, leave it out! You tossers! You had one job to do!!"

"A pinch is a device which creates, like, a cardiac arrest for any broadband electrical circuitry. Better yet a pinch is a bomb - now, but without the bomb. See, when a nuclear weapon detonates, it unleashes an electromagnetic pulse which shuts down any power source within its blast radius. Now that tends not to matter in most cases, because the nuclear weapon usually destroys anything you might need power for anyway. But a pinch creates a similar electromagnetic pulse, but without the fuss of mass destruction and death. So instead of Hiroshima, you'd be getting the 17th Century."

"[scolding Linus for leaving the van when he was instructed to stay] You stupid bastard!"

"Window or aisle, boys? Yeah, we're in deep shit!"

"Are you in or out?"

"3 Casinos. 11 Guys. 150 Million Bucks. Ready To Win Big?"

"Place your bets."

"They're having so much fun, it should be illegal."

"You do the math."

"Casey Affleck - Virgil Malloy"

"Scott Caan - Turk Malloy"

"George Clooney - Danny Ocean"

"Matt Damon - Linus Caldwell"

"Andy Garcia - Terry Benedict"

"Elliott Gould - Reuben Tishkoff"

"Eddie Jemison - Livingston Dell"

"Bernie Mac - Frank Catton"

"Brad Pitt - Rusty Ryan"

"Shaobo Qin - The Amazing Yen"

"Carl Reiner - Saul Bloom"

"Julia Roberts - Tess Ocean"

"Don Cheadle - Basher Tarr"

"Joe LaDue - Billy Tim Denham"

"Scott L. Schwartz - Bulldog, the Bruiser"

"“You mess with Spidey, you mess with New York!” More than any other superhero, Spider-Man is New York. He's the kid from Queens, the blue-collar nerd who got bitten by a radioactive spider and became the world's most famous teenage crime fighter. In Sam Raimi's 2002 film, a random man in the crowd hollers the above line as a group of New Yorkers protect Spider-Man (Tobey Maguire) from his arch nemesis The Green Goblin (Willem Dafoe). It's a sincere moment, unburdened by the self-reflective seriousness found in the genre's contemporary efforts. Ironically for a film often cited as kickstarting the modern superhero movie trend, Raimi's Spider-Man is a bland superhero movie by today's standards. It is simply a story about a guy, the girl he loves and the city he shields from harm. It wasn't Raimi's intention to make a cinematic dissertation on the different types of heroism. Nor for that matter was he attempting to make a generic superhero movie. He set out to make a Spider-Man movie, and making a great Spider-Man movie requires making a great New York movie. As such, Raimi's version of New York is a place where fantasy and reality meet. There is no doubt that Spider-Man is a fantasy, as Peter reacts to his overnight transformation with a goofy grin because he's developed shredded abs. But even with his newfound powers he still suffers loss. He and the rest of New York don't freak out at the idea of a guy swinging between buildings. In this city and the world, Raimi creates within it, that seems perfectly normal. The director injects realism into the story by having his characters work mundane jobs to meet mundane ends like paying rent. They lead regular lives, and we are given hints of their everyday activities. In this film, New York is more than a setting, as Raimi gives his supporting characters lives outside of Spider-Man and The Green Goblin's ideological conflict."

"When Spider-Man was proposed to me originally it was like, ‘Really, you’re going to make a movie from a comic book?’” Dafo said. “It was like I was slumming it, you know? I didn’t see it that way, but some people were like, ‘Really?’"

"Imagine "Superman" with a Clark Kent more charismatic than the Man of Steel, and you'll understand how "Spider-Man" goes wrong. Tobey Maguireis pitch-perfect as the socially retarded Peter Parker, but when he becomes Spider-Man, the film turns to action sequences that zip along like perfunctory cartoons. Not even during Spidey's first experimental outings do we feel that flesh and blood are contending with gravity. Spidey soars too quickly through the skies of Manhattan; he's as convincing as Mighty Mouse."

"Remember the first time you saw the characters defy gravity in "Crouching Tiger, Hidden Dragon"? They transcended gravity, but they didn't dismiss it: They seemed to possess weight, dimension and presence. Spider-Man as he leaps across the rooftops is landing too lightly, rebounding too much like a bouncing ball. He looks like a video game figure, not like a person having an amazing experience."

"The other super-being in the movie is the Green Goblin, who surfs the skies in jet-shoes. He, too, looks like a drawing being moved quickly around a frame, instead of like a character who has mastered a daring form of locomotion. He's handicapped, too, by his face, which looks like a high-tech action figure with a mouth that doesn't move."

"Peter Parker was crucial in the evolution of Marvel comics because he was fallible and had recognizable human traits. He was a nerd, a loner, socially inept, insecure, a poor kid being raised by relatives. Maguire gets all of that just right, and I enjoyed the way Dunst is able to modulate her gradually increasing interest in this loser who begins to seem attractive to her. I also liked the complexity of the villain, who in his Dr. Jekyll manifestation is brilliant tycoon Norman Osborn (Willem Dafoe) and in his Mr. Hyde persona is a cackling psychopath."

"9/11 was undeniably a paradigm shift. Its effects would ripple throughout the next decade and continues to impact the world today. The superhero industry's response to the unjust tragedy was felt immediately. Those who went to the movies to escape the ubiquitous news coverage on Sept. 11, 2001 would have seen a trailer for “Spider-Man,” which would be released in the following May. The trailer, which featured Spider-Man trapping a helicopter of bank robbers in a web strung up between the Twin Towers, was quickly pulled out of circulation along with posters featuring the towers reflected in his eyes. The nation, still reeling from the horrors of 9/11, flooded the theaters the following year, hitting a record high for U.S. admissions—1.64 billion moviegoers—in 2002, according to the 2006 U.S. Theatrical Market Statistics. Spider-Man raked in the highest domestic growth of 2002, beating well-established franchises “Lord of the Rings” and “Star Wars” (“All Time Worldwide Opening”). The nation clearly hungered for a figure who could save the country—or, in this case, at least defend New York."

"Q: Do you have a favourite scene in the film?"

"Movies hadn't been doing the sort of opening-weekend business that's fairly common – even expected – today. The first Harry Potter came out about six months before us and it was this phenomenon from Day one. It was so wild because it was a new thing at that moment – and I'm not saying that hasn't happened in movie history, but at the time that was a big jump. and then that happened with us. People didn't anticipate [2002's Spider- Man] to be like that. Leading up to it you start to get reactions and people tell you, you know, what the tracking is and what range your opening weekend box office is likely to be. but for me it was kind of unexpected. So much shifted in my life the weekend the movie came out. it was shocking."

"I worked closely with David Koepp who based his scenario on that of James Cameron. I especially wanted to develop what I like in Spider-Man, that is to say the character of Peter Parker. I really did not care about Spidey, I wanted a movie about Peter Parker. (Laughs) It's interesting because he looks like us, he does not have a lot of money, he grew up in a working class environment, he can not fit in, he has problems at school ... His egoism and irresponsibility contribute to his uncle's death and he does not know how to live with it. But when he realizes that he must live to become the responsible person his uncle wanted him to become, he takes the mask. And that's what I'm interested in Spidey. For me, he becomes a hero by becoming responsible, not by knocking out some bad guys. (He thinks) I feel still invested with great responsibilities. Parents will take their children to see the movie and whether it is good or bad, these kids will point the screen and say, "I want to be like Spider-Man . " I know that there will be this admiration and I had to put on the screen a character who deserves this admiration."

"Initially, I wanted to build a very light camera, from 2 to 3 kg, loaded with a minute of film, mounted on a system of cranes and pulleys, with mini engines. She could have flown over the streets of Manhattan, drifting over passersby and reaching a speed of 60 km / h. But production was certain that we would lose control and kill people! So we tried lots of other things that did not work, like stuntmen hanging from cables, but they had neither the grace nor the acrobatic agility of Spidey. Then John Dykstra, the head of visual effects, proposed a virtual Spidey. I did not like this idea, I did not think I could convince the public with a virtual human, it would not be real enough. But at the point where we were, we tried. And it works. But because Spidey is wearing a suit. If it had been necessary to create skin or virtual eyes, nobody would have believed it."

"I stay true to the spirit of Spider-Man . Its creators, Stan Lee and Steve Ditko, wanted Peter Parker to be like us. I can identify with a simple high school student not a genius capable of inventing this mechanism and this canvas. I wanted to tell the story of an ordinary boy who becomes an extraordinary being, not that of an extraordinary boy who becomes an extraordinary hero."

"Tobey Maguire – Peter Parker/Spider Man"

"Willem Dafoe – Norman Osborn/Green Goblin: Harry's dad"

"Kirsten Dunst – Mary Jane (MJ) Watson"

"James Franco – Harry Osborn: Norman's son"

"Cliff Robertson – Ben Parker: May's husband and Peter's uncle"

"Rosemary Harris – May Parker: Peter's aunt and Ben's wife"

"J. K. Simmons – J. Jonah Jameson"

"Joe Manganiello – Eugene "Flash" Thompson"

"Bill Nunn – Joseph "Robbie" Robertson"

"Elizabeth Banks – Betty Brant"

"You better just start dealing with it, Hudson! Listen to me! Hudson, just deal with it, because we need you and I'm sick of your bullshit."

"You know, Burke, I don't know which species is worse. You don't see them fucking each other over for a goddamn percentage."

"[to the Alien Queen who is about to kill Newt] Get away from her, you BITCH!"

"Close your eyes, baby!"

"All right, sweethearts, what are you waiting for? Breakfast in bed? It's another glorious day in the Corps. A day in the Marine Corps is like a day on the farm: Every meal's a banquet. Every paycheck's a fortune! Every formation's a parade! I love the Corps!"

"I'm ready, man. Check it out! I am the ultimate badass! State of the badass art! You do not want to fuck with me. Check it out! Hey, Ripley, don't worry. Me and my squad of ultimate badasses will protect you! Check it out. Independently targeting particle-beam phalanx. WHAP! Fry half a city with this puppy. We got tactical smart missiles, phase plasma pulse rifles, RPGs. We got sonic, electronic ball-breakers! We got nukes, we got knives, sharp sticks..."

"Yo! Stop your grinnin', and drop your linen! Found 'em!"

"We're on the express elevator to hell, going down!"

"They're coming outta the walls! They're coming outta the goddamn walls! Let's book!"

"What do you mean "they cut the power"? How could they cut the power, man?! They're animals!"

"That's it, man. Game over, man. Game over! What the fuck are we gonna do now? What are we gonna do?"

"This time it's war."

"There are some places in the universe you don't go alone."

"[W]here "Alien" focused on the creature itself, "Aliens" centers on Ripley, whom a "deep-salvage" team finds floating in space after a 56-year "hypersleep." The anonymous Company, as represented by Carter Burke (Paul Reiser), is pretty steamed that Ripley destroyed the mother ship (with the alien in it). But when the radio silence of one of the Company's colonies points toward another alien outbreak, Burke enlists Ripley in a search mission. So she's thrown together with a company of Marines, including Vasquez (Jenette Goldstein), a burly, tough-talking woman machine-gunner; quiet Hicks (Michael Biehn) and noisy Hudson (Bill Paxton); a gravel-voiced, enigmatic android named Bishop (Lance Henriksen); Sgt. Apone (Al Matthews), a cigar-chomping top kick; and Lt. Gorman (William Hope), the group's callow and effete commanding officer. As a screenwriter, Cameron has an uncanny ear for the way these trench rats talk, their banter and swaggering bravado. He has the same instincts as George Lucas did in "Star Wars" -- make the future seem real, and lived in -- but he pushes it further. The surroundings are different, the weapons are fancier, but as the soldiers razz Lt. Gorman or ready themselves for battle, it might as well be Vietnam. The humor is a way to get us to like these characters, so that when they're thrown into danger it's not just a cheap thrill. And it's a way to draw you into the early going, without squandering any of the cliffhangers -- it allows Cameron to pace his movie along a perfectly accelerating curve, to pack the excitement into the last 45 minutes (which is almost all climaxes) without losing the audience at the beginning."

"At its heart, "Aliens" involves a myth deep in everyone's psychology, a war between a good mother and a wicked stepmother (the "Alien Queen"), and it ends with a tableau of the family triumphant, although this might be the weirdest family anyone's ever seen -- a gun-toting mom, a wild child and an android who's been sawed in half. But in that single image is the whole of Cameron's strategy -- to take what's familiar and permanent in ordinary life, and twist it, and twist it again. "Aliens," in other words, might be about a young girl who hates her stepmother and loves her mom -- it just wouldn't be nearly as much fun. Aliens, opening today at area theaters, is rated R, and contains violence and profanity."

"[W]ritten and directed by James Cameron, the Canadian boy from Chippawa, Ont., Aliens is smartly conceived and executed, and it does contain its share of thrills and scares. But it is very much a sequel, and the element of surprise, the most invaluable of commodities in enterprises such as this, has been lost."

"In “Aliens,” Biehn plays Weaver’s comrade-in-arms, and while she seems to be the only human on this Marine mission with any smarts, he at least shares her humanity. It’s a quality in short supply this time. There’s no attempt to let us know or care for this new crew as we did for the old one, for Harry Dean Stanton or Yaphet Kotto, John Hurt, Tom Skerritt or Veronica Cartwright. Losing them was a wrench. These awesomely muscled men and women are sewer-mouthed, burr-headed young grunts, there to wrestle the weaponry about and to be picked off."

"“If the sequel doesn’t equal Alien in cardiac-arrest value, it’s only because stainless-steel teeth, repulsiveness and slime have gone about as far as they could go (with John Carpenter’s 1982 The Thing), then gone on to be a laughing matter in Ghostbusters.”"

"The supporting actors here are inventions like the PulseGun or the SmartGun, which red-bandannaed Private Vasquez (Jenette Goldstein) stalks about with regally, like a flamenco dancer. (“Aliens” is going to be big on the survivalist circuit. It’s about this point that you remember Cameron also co-wrote “Rambo: First Blood Part II.”). The film may be as empty as it is fast and noisy, but Cameron still has a droll touch with his villains--watch who steps off “Aliens’ ” elevator in pursuit of Weaver--and with amazing mechanical inventions: Here it’s a forklift suit with monstrous lobster claws. (The film’s R rating is for its language and gruesome effects; it’s definitely not for impressionable children in spite of its 9-year-old heroine.)"

"Two of the actors, ex-comic Paul Reiser and Lance Henriksen (“The Right Stuff’s” Wally Schirra) as the ship’s exceptional android, are particularly fine, as is James Horner’s ruminative, intelligent music and Emma Porteous’ eye for costuming. But of all the film’s choices, the best was Weaver. She’s its white-hot core, given fine, irascible dialogue to come blazing out of that patrician mouth, and the chance to look, for a moment, like a space-dusted Sleeping Beauty in her hyper-sleep casket."

"Perhaps the best single word to describe James Cameron's Aliens is relentless. Tautly paced and expertly directed, this roller coaster ride of a motion picture offers a little bit of everything, all wrapped up in a tidy science fiction/action package. From the point when the opening half-hour of exposition ends and the real movie begins, Cameron barely gives viewers a chance to catch their breaths or ease their grips on their armrests as he plunges his characters from one dire situation to the next. This is one of those rare motion pictures that involves the audience so completely in the story that we're as worn out at the end as our on-screen counterparts."

"When it comes to the logical marriage of action, adventure, and science fiction, few films are as effective or accomplished as Aliens, and there's nothing on the market (either in theaters or on video store shelves) that will leave you as thoroughly exhausted."

"If you take the special edition of James Cameron’s astounding sequel to the classic Alien, it’s a film where you don’t see – save for a face-hugger right at the start – a single alien creature until almost an hour has been clocked up. One full hour. How incredible is that, particularly contextualized against modern-day flicks that never seem to introduce the cat to the bag, let alone let it out? But there’s more to it than that, because Cameron then spends that hour superbly well, managing to ratchet up the tension to quite unbearable levels in the build-up to the inevitable first encounter. In fact, there’s a convincing argument, and this writer would certainly subscribe to it, that the scariest thing in the whole of Aliens is a flashing dot on a screen, accompanied by a beeping noise."

"I was as much doing an homage to what Ridley [Scott] had created as I was making my own movie, but I did set out to do both in a balance. I didn’t think I could outdo Alien for pure shock. … So I had to come up with an end run around that would be equally entertaining for an audience but in a different way."

"I was sitting with the three producers, and we were in the office of the then-head of 20th Century Fox. And I said, ‘Guys, I got an idea for the title. And it goes like this.’ And I wrote, ‘Alien’ in large block letters. And I put an S on the end. I showed it to them. I said, ‘I want to call it Aliens, because we're not dealing with one. Now we're dealing with an army, and that's the big distinction. And it's very simple and very graphic.’ And I said, ‘But here's what it's going to translate to.’ And then I drew the two lines through it to make it a dollar sign. And that was my pitch. And apparently it worked! Because they went with the title. They never questioned it."

"Though it's perhaps the most iconic single prop in the entire Alien franchise, the power loader Ellen Ripley (Sigourney Weaver) uses to fend off the xenomorph queen in Aliens (1986) was a real pain to make. A new featurette, premiering today on The Creators Project, reveals that, while Rome wasn't built in a day, the very first model for this "far future forklift," actually was. "The practical effects guys in England, they just thought I was nuts," Cameron says in the clip, referring to the time he essentially locked his team in a room with a bunch of pipes and foam core. But by the end of the day they had a recognizable prototype of the first robot exoskeleton to hit the silver screen. When they tested out their experiment, Cameron says, "All the effects guys were starting to think, 'Oh my god this actually sort of works just enough that he's going to make us do this.' And I did, I made them do it.""

"Sigourney Weaver set the bar high when she reprised her role of Ellen Ripley in 1986 sci-fi classic Aliens. As a female lead who was unsentimental but not unfeeling, she gave us a hero that has since been copied but never equaled."

"Thirty-five years on, Weaver’s performance remains the high watermark for strong female leads in action movies. It’s a character description that may sound redundant and regressive in this day and age, but in 1986 Weaver embodied it to a degree that left many other great performances by great actors that came afterwards suffering by comparison."

"Parents need to know that the relentless, ravenous clawed monsters in Aliens, the sequel to Alien, are likely to give small kids (and others) nightmares. It's even more violent than the original. Besides the rerun of the grisly moment when embryonic aliens burst out of people (in reality and in dream scenes), we also see quick cuts of victims seared with acid, getting set on fire, and blowing themselves up with a grenade. Gunfire, bombs, and flamethrowers are directed at the aliens. Most disturbing of all -- or, at least, the most nakedly manipulative -- is the perpetual threat of ghastly violence/death/contamination directed at a frightened, screaming little girl. There's also a plethora of swearing and lots of adoring fondling of guns and high-powered weapons."

"Families can talk about the military metaphor in Aliens; it's said James Cameron had Vietnam on his mind when he depicted a group of gung-ho Marines charging into tunnels only to get shredded to pieces by hordes of an enemy that keeps on coming. What could the characters have done differently?"

"`Aliens,` said Cameron, resplendent on a recent June afternoon in a black, open-neck shirt crawling with virulently purple orchids, is the movie I would have died to see when I was 14."

"An action-thriller that women will cheer for."

"A sequel to director Ridley Scott's "Alien" was inevitable, of course. This traditional horror movie set in outer space simply made too darn much money for the studio to simply let it stand alone. Surprisingly, when director James Cameron took over, he was determined to make a different movie rather than merely rehash the first. Thus, "Aliens" was adventurous, taking the story in new and exciting directions as an action-adventure yarn instead of another horror movie. Indeed, several critics feel "Aliens" is better than "Alien.""

"The ads for "Aliens" claim that this movie will frighten you as few movies have, and, for once, the ads don't lie. The movie is so intense that it creates a problem for me as a reviewer: Do I praise its craftsmanship, or do I tell you it left me feeling wrung out and unhappy? It has been a week since I saw it, so the emotions have faded a little, leaving with me an appreciation of the movie's technical qualities. But when I walked out of the theater, there were knots in my stomach from the film's roller-coaster ride of violence. This is not the kind of movie where it means anything to say you "enjoyed" it."

"The director, James Cameron, has been assigned to make an intense and horrifying thriller, and he has delivered it. Weaver comes through with a very strong, sympathetic performance. The supporting players are sharply drawn. The visual effects are professional. I’m giving the movie a high rating for its skill and professionalism and because it does the job it says it will do. I am also advising you not to eat before you go to see it.”"

"It's here that my nerves started to fail. "Aliens" is absolutely, painfully and unremittingly intense for at least its last hour. Weaver goes into battle to save her colleagues, herself and the little girl, and the aliens drop from the ceiling, pop up out of the floor and crawl out of the ventilation shafts. (In one of the movie's less plausible moments, one alien even seems to know how to work the elevator buttons.) I have never seen a movie that maintains such a pitch of intensity for so long; it's like being on some kind of hair-raising carnival ride that never stops. I don't know how else to describe this: The movie made me feel bad. It filled me with feelings of unease and disquiet and anxiety. I walked outside and I didn't want to talk to anyone. I was drained. I'm not sure "Aliens" is what we mean by entertainment. Yet I have to be accurate about this movie: It is a superb example of filmmaking craft."

"Skip ... if you’re not a fan of war movies. Even though “Aliens” belongs to a number of genres, it is basically just a scarier, louder, gorier version of a classic combat flick. Add in the profanity, the high body count and the endless waves of monsters coming out of the darkness, and you’ve got something that’s a far cry from the typical sci-fi or horror film."

"James Horner's score contains elements of Goldsmithian militaristic marches and borrowings from his Star Trek III score, as well as a touch of "The Gayne Ballet," as used in 2001, making it seem more of a rehash than an original from this talented composer. Stan Winston has done an excellent job of making H.R. Giger's original Alien design quicker moving and more mobile, adding a hitherto unseen form of the Alien for the climax. Aliens ends up as a wild and woolly roller-coaster ride of a movie which should attract anxious crowds of thrill fans as it cuts a swath through theaters from here to Alpha Centauri."

"“Aliens is about nothing at all beyond squeezing yet another buck from what seven years ago was an original, arresting — and profitable — science-fiction-horror [film]. Alien was so good because it said all that needed to be said on its subject. [S]equels are superfluous, dictated by pure greed as opposed to any driving artistic compulsion.”"

"Cruder than the original, Aliens is a distinctly greedy mega-production. For sure, there’s only so many times you can tell the same story and rewrite the same set pieces: Because the film’s human melodramas play second fiddle to the kick-ass action sequences, it’s obvious that 20th Century Fox wanted to bank on the success of the original film. Sometime after its release, Alien began to develop a following among feminists, confirmed when one of my film school professors would frequently reference the set design’s phallic and vaginal imagery. But it’s Ripley’s battle to be heard by the film’s alpha males and mother ship that truly resonates today. This mostly subtextual war of the sexes is on whorish display throughout Aliens: the mother alien is referred to as a “badass” by Bill Paxton’s insufferable Hudson; Ripley’s cigar-chomping sergeant doesn’t think she can do anything; and the tough, eager-to-please Latina lesbian who calls Ripley “Snow White” is teased for looking like a man. After floating in space for 57 years, Ripley is picked up by a salvage ship and is treated like a rape victim by a money-minded conglomerate. After her feminine insight gets the better of everyone, she helps spearhead a mission back to the alien planet after the ship loses contact with its colonists. Plot holes abound, but more tragic is the sorry lot of archetypical characters a fierce Ripley has to rub shoulders with; you can tell exactly in what order everyone will die depending on how nondescript, polite, hysterical, or evil the characterization. Aliens is a “guy movie” through and through, right down to the “get away from her, you bitch” female-on-female violence (Cameron, David Giler, and Walter Hill must have been watching Dynasty while writing their screenplay). The director’s cut of the film hauntingly amplifies Ripley’s disconnect from her dead daughter and her relationship to the young Newt (essentially a substitute for her creepy pet cat). Otherwise, the film’s human interactions are nowhere near as interesting as Cameron’s deft direction of action and use of non-alien space (the “Remote Sentry Weapons” killing spree may be Cameron’s finest moment)."

"The special-effects specialists are featured prominently in the credits that precede Aliens, and so they should be. Under the direction of James Cameron, they have put together a flaming, flashing, crashing, crackling blow-’em up show that keeps you popping from your seat despite your better instincts and the basically conventional scare tactics.”"

"Although the aliens still have that nasty way of bursting through people's skin, mostly we meet them full-grown, with scales and coils and, my, what big teeth. Now they look like dragons, now like sea monsters or pterodactyls or a combination plate of lizard, bat, eel and spider. The young aliens resemble agitated lobsters. I thought I saw an elephant trunk on the Big Mamma alien, who is too big to be blown away even by Miss Weaver's big gun, but it could have been something else. Anyhow, it wasn't anything you'd want clutching at your foot while you were trying to hang on to your spaceship and not be gulped into the void. No monster movie with pretensions can do without a scene that stirs a twinge of compassion for the monsters. It might be just my wishful imagination, but I thought I detected an expression of anguish on Big Mamma, a prodigious breeder, as dozens of her extra-large eggs were getting badly cracked. But she could merely have been opening her glacierlike jaws to devour that little girl."

"Talk about relentless. There probably has never been a cliffhanger as outrageous or as ingeniously sustained as Aliens, writer-director James Cameron’s absolutely smashing sequel to Alien, Ridley Scott’s 1979 science-fiction/horror classic…. Aliens proves that a bigger budget and more elaborate visual effects haven’t spoiled Cameron, and that he can still generate that involvement. In many ways, this is one sequel that improves on the original.”"

"“[O]ne of the things that makes Aliens work is the performance of Sigourney Weaver, reprising her role from the first film. She is strong and serious and very human. And she puts to shame the spate of one-dimensional macho heroes we’ve had lately who all look like plastic imitations of each other.”"

"Aliens is often regarded as a blueprint for how to execute an effective sequel. And rightly so. It didn’t try to replicate the first film. Instead, it took its essence and Scrapheap Challenged a rip-roaring war movie out of it. Ripley, the lone survivor of the mining ship, Nostromo – the sepulchral setting for the first film’s slasher-horror minimalism – joins a ragtag band of marines to take the fight back to the aliens. And what a bunch they are: Michael Biehn’s stoic Hicks, Bill Paxton’s wild-eyed gobshite Hudson, Jenette Goldstein’s badass gunslinger Vasquez. Frost, Spunkmeyer, Gorman, Apone, Drake – it’s amazing how many memorable grunts Cameron managed to forge with so little expository dialogue. That they used enormous “smart guns” mounted to their hips and sped around in a Batmobile-esque armored personnel carrier only served to sprinkle more geek catnip on my impressionable 12-year-old brain."

"Rewatching it over the years I’ve only come to appreciate Aliens more. It remains a masterclass in building tension: we don’t actually see an alien until the hour mark, and when we finally do it’s in a bewildering frenzy of bodycam panic. The scene with Ripley and Newt (the girl Ripley finds living feral on a base long since overrun by aliens) trapped in a laboratory with a scuttling face-hugger is still a bum-clenching ordeal. Paul Reiser’s smarmy, flop-sweat-slick company man, Burke, has become ever more punchable with every passing year. And Ripley overcoming her prejudices to accept the android Bishop as a friend is more touching now than it ever was. Yes, Bishop had to be literally ripped in half in order for her to do this, but the point stands. It could be argued that Cameron hasn’t made a truly great film since Terminator 2: Judgement Day (1991). That was the other adult-centric movie I remember featuring heavily in my childhood. Both Cameron films, both sequels to grimier, more disturbing originals that my mum would rather I didn’t watch, both held together by remarkable performances by their leading women. I’ve come to think that my mum was engaged in a not-so-subtle campaign to imbue me with an appreciation of strong female role models."

"Brandishing sophisticated weaponry and rescuing hostages in a style that leads Pauline Kael to label her “no more than a smart Rambo” (79), Sigourney Weaver’s Ripley champions a type of a feminist role in Alien (1979) (dir. Ridley Scott) and its film child Aliens (1986) (dir. James Cameron). Lawrence O’Toole croons that “Weaver brings wit, warmth, compassion, sweat and strength to her heroic role. Feminism has barely had it so good”, while David Ansen calls her “human macho” a “strong, unsentimental heroine” (64), and Rebecca Bell-Metereau celebrates Ripley as a “prototype for a new female lead…because she is not stunning, stunned, or simpering” (210) Single-handedly defeating alien creatures who threaten to destroy the human race, Ripley is intelligent, resourceful, independent, able to take command, and, in the greatest divergence from Hollywood’s typical depiction of “feminists,” not linked romantically to a man. “The closest thing that [Aliens] comes to romance” is Corporal Hicks showing Ripley how to operate an M41A pulse rifle (Kael 79). Ripley thus seems to epitomize, both for the films and their many viewers, the type of a new woman, one who not only holds her own in a man’s world, but is the only person to survive successfully in it."

"FROM the halls of Montezuma to the spores of outer space, they will fight our country's battles anytime, anyplace . . . The Marines, sweating and swearing and valiant as lions, engage "Aliens" in this hell-bent-for-leathernecks sequel to the 1979 thriller by Ridley Scott. "Alien" was a classic of gothic horror, but "Aliens" is a blockbuster of epic combat, a high-powered, spine-tingling, interplanetary "Pork Chop Hill." Here, a few good men -- and in the year 2036, a few good women -- battle the blood-thirsty beings of the planet Archeron."

"Raunchy one-liners relieve the fear of the unknown that menaces this mean, terrific team. Only the sequel isn't as shocking because we know a little about the monster now. "Aliens" can't top the original caesarean scene -- the monster tearing through the abdomen of its human host. But this time there are more parasites. If "Alien" was a cancer metaphor, "Aliens" is more like AIDS. There may be no defense, though there are plenty of skirmishes. Then there's the red-blooded feminism. Basically it's "Rambo" for her, with Weaver's demeanor steelier than Stallone's. But she is a woman. And that means she's got to balance a career and mothering when she takes a spunky nine-year-old space orphan under her wing."

"As in the original, Cameron's space looks lived in. The computer banks are dusty and the troop-ers wear fatigues instead of silver-zippered suits. The monsters, in their many forms, are recreated with gooey veracity, plus there's a new queen bee ovipositing spores in the aliens' nasty nursery. Boy, do those things make a lot of slime. It gets slippery for Ripley in a girls-only show-down with the alieness, despite the backing of formidable comrades: Michael ("Terminator") Biehn as a dashing corporal and Lance Henriksen as a valiant synthetic ("I prefer the term artificial person myself"). The vigorous and well-chosen cast also includes comedian Paul Reiser in his first serious role, as a corporate villain; and Al Matthews as the bull-necked sarge who moves 'em out to the rat-tat-tat-tat of the drums. Except for the droid, they're characters you'd find in any foxhole from "Sergeant York" to "The Green Berets." The enemy is as merciless as the Nazis, as elusive as the North Vietnamese. All of it is set against the pristine starscape of deep space."

"Director James Cameron makes all the right moves. [H]e brings to Aliens a solid gift for action, pacing and excitement…. Though Aliens is unable to eschew some obvious sci-fi conventions and those of other genres as well, it brings a fresh and lively spirit to this tired cinematic clime. Scene to scene, encounter to encounter, its tension builds unrelentingly. So, fasten your seat belts. It’s a blast."

"You’re entering a tight corridor filled with menacing shadows. Is that breathing you hear? Well, don’t run. Clanging metal walkways and staircases always give your position away. You might be playing a first- or third-person shooter - or watching the film “Aliens.” Every science fiction/horror game of the last 20 years - from the granddaddy of them all, Id’s “Doom,” to recent titles such as Electronic Arts’ “Dead Space” series - owes a debt to the first two films in the “Alien” franchise, Ridley Scott’s moody 1979 original and James Cameron’s action-packed 1986 sequel, “Aliens.”"

"Cameron was confident enough to not only dream up a sequel that continued Ripley’s story but also shift it into a different genre. Where Alien was pure horror, Aliens was first and foremost an action thriller; the movie’s tagline, “This time it’s war” was a clear indication that Cameron’s movie was anything but a straight retread."

"In the wake of Aliens, the pop culture impact of the colonial marines – and the look of film in general – was immediate. It’s worth noting that Paul Verhoeven’s adaptation of Starship Troopers, with its military units wearing light armour rather than powerful exoskeletons, was actually closer to Aliens than Heinlein’s book. Aliens impact on videogame design, meanwhile, can be seen everywhere – from the retro alien blasting future soldiers in Contra (1987) to the frat-boy space marines in Gears Of War and a thousand identikit sci-fi shooters. In the absence of more colonial marines adventures on the big screen, videogame designers filled the void."

"It starts with Ripley (Sigourney Weaver) emerging like Sleeping Beauty from more than half a century of interplanetary slumber, which she doubtless needed after her prior ordeal. The planet where it all happened, she learns, has since been colonized by humans, who have broken off contact with Earth—but note the timeline: they did so only after she awoke. Is that a mere plot contrivance, or could it be that the monsters have been waiting for Ripley, to summon her to the fray? She certainly seems more determined and queenly this time around, with a foe to match, plus an android, played by Lance Henriksen, and the result is a formidable acceleration of all the fears that lurked in the first film: the frigidity of Scott’s detached and spooky manner is replaced by the relentlessness of a racing heart. Action thrillers assail but rarely test us; this is the tautest, most provoking, and altogether most draining example ever made."

"It’s a fun film that also demanded you to take it seriously. I think some people missed all that and just wanted to indulge in the ‘bug hunt’ war porn of it all. But beneath its rollercoaster surface, Aliens is a pretty sophisticated genre classic.”"

"Aliens could have used a lot more of what made the first ill-fated voyage such a harrowing experience: creeping horror that is so cold-blooded and unspeakable you scream but nothing comes out.”"

"There ought to be a warning attached to the video release of "Aliens," the sequel to the 1979 sci-fi thriller "Alien." It should read: "Warning. Not To Be Viewed Alone, Nor After 11 p.m. Otherwise, Tranquil Sleep Cannot Be Guaranteed." Because that's how I watched this remarkable thriller -- late at night and alone. I found it, quite simply, terrifying -- one of the scariest movies since "The Exorcist." And one of the best of this type. Translated to video, "Aliens" is not quite as terrifying as it was in theaters, but the suspense, drama and horror are there nonetheless. Sigourney Weaver, that willowy, captivating young star, returns as the sole survivor of the earlier space mission. She's been asleep for 57 years when she's returned to Earth. Why the technology hasn't changed too much in half a century is about the only unanswered question in this otherwise near-perfect thriller."

"The rest of "Aliens" is basically a series of search-and-destroy missions in the bowels of an abandoned structure on a far-off planet. But the way the creatures are stalked, and the slow, me-thodical steps the marines take before suddenly confronting them, make for superb drama. Some-times, even though you know the nature of the enemy, not knowing when or where it will strike is more terrifying. And so it is with this wonderfully filmed thriller. Whereas the original "Alien" was a bit too laid back for my tastes, with its characters spending too much time sipping coffee and waiting to be devoured, skewered and decimated, "Aliens" has no such flaws. It is a continual series of furious encounters with the aliens, who are multiplying rapidly."

"Watching a movie like "Aliens" on home video cannot match the terror from a big screen, at least for me. The security of one's own living room is reassuring, and so is that omnipotent off button on the VCR. But if you make the commitment to watch "Aliens" -- and I think you should -- you will see something quite remarkable. Not only is terror sustained for more than two hours, but also the last 20 minutes -- Weaver's final confrontation with the queen bee of the aliens -- has to to be one of the scariest horror sequences ever filmed."

"[L]ittle touches make Aliens much more fun than the run of the science-fiction genre. And its creatures are much more ingeniously mean than the gremlins of two summers ago."

"The original Alien was a haunted-house movie, brilliantly transposed to outer space. Claustrophobia was its primary tool of terror, and it featured a gross out unparalleled in movie history. Aliens writer James Cameron had the good sense to try to make a different kind of movie. Aliens resembles less its predecessor than The Terminator."

"Director James Cameron’s continuation of Ridley Scott’s Alien is long on brawn and short on brains. Too many Marines, too much noise, and too many acres of heavy hardware clutter up the scenery."

"[Aliens is] a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore."

"Count me out of the fan club for this one. To me, Aliens is one extremely violent, protracted attack on the senses, as surviving space explorer Sigourney Weaver again confronts the spiny, slithering creatures who killed her buddies in the original film, Alien. Some people have praised the technical excellence of Aliens. Well, the Eiffel Tower is technically impressive, but I wouldn`t want to watch it fall apart on people for two hours. R."

"Long after the thrills and chills wear off, I would argue that Aliens will be remembered not for its military saltiness, but for the role that Weaver takes to full-bodied heroics."

"Fifty-seven years on, Ripley is discovered - Sleeping Beauty in space. Plagued by nightmares and surrounded by sceptics, she's forced to return to the resting place of the original alien's mother ship with a bunch of seen-it-all-before Marines. Confidently directed by James Cameron (heretofore known only for 'The Terminator' and 'Piranha II'), this sequel dares to build slowly, allowing Weaver to develop a multi-dimensional character even as it ups the ante by fetishising the Marines' hi-tech hardware and spawning legions of aliens (the suspense involves guessing which group will be cannon fodder). There is always an interesting tension in Cameron's work between masculine and feminine qualities. When it finally hits the fan here, we're in for the mother of all battles."

"In a summer of disappointing sequels, it’s a pleasure to announce that Aliens is every bit as good as the original. That said, it’s also quite different, which is probably why it succeeds where other sequels have failed."

"Monday, July 18, marks the 30th anniversary of the debut of Aliens, so EW asked Weaver, director James Cameron, and producer Gale Anne Hurd to reminisce about that final knock-down drag-out. Cameron: I did the initial drawings. I presented them to Stan Winston, and then the next thing was, all right, now how are we going to do this damn thing? Because you got to remember, there was no CGI back then. So, you know, we’re talking about big puppets, miniature puppets, and maybe some guys inside it, and I said, well, I think you can put guys inside this thing. I think you can put two people inside it. He thought I was nuts. So we did a test where we built a frame that could hold two people. Hurd: You’ve got to remember the state of computers back then also, this was not a time of microcircuitry that’s as advanced as it is today. There were robots in manufacturing lines, and we used some robotics in the film, but it was first generation. If it could be choreographed with people, it’s much easier to tell someone what you want to do and how to change something in a nuanced way. And it’s less likely to break!"

"Weaver: Looking back, I’m always astonished that they trusted me to flame the dummies and shoot blanks into the stunt guys and bazookas into some of the other targets. You know, we just went for it. And luckily I didn’t kill anyone."

"CORNISH: OK, remind us the difference between 1979's "Alien" and what came seven years later in "Aliens" with an s. Like, fundamentally, what's the difference in plot?"

"What returns from Alien: creepy egg chamber, spidery face-clinging larval parasite, chest-bursting imago, search missions in dark and wet places, a race against a nuclear self-destruct device, android malfunctioning and going literally to pieces, corporate conspiracy to obtain an alien at the cost of innumerable human lives, the airlock as weapon of choice, and the nasty suggestion that it isn’t all over (embodied there in a cat, here in a little girl, both apparently red herrings). What’s new in Aliens: Cameron replaces the timeless lethargy of Ridley Scott’s space and the sweaty, stultifying boredom of life on an intergalactic freighter with frenetic pace. Aliens grab you immediately and never lets go; it seems much shorter than its 2:17 running time (and even the 2:34 restored/enhanced edition released in 1999 streaks by with white-knuckle kinetics)."

"No futuristic plastic fantastic technology. Metal takes over, and dominates the look and sound of the film. Sigourney Weaver’s wonderful, resourceful Ripley doesn’t just continue the tough-woman role but transforms and refines it until she out-Rambos Rambo, succeeding where the military cannot. And of course there are the Marines—the “mechanized infantry” of Robert Heinlein’s Starship Troopers, which Cameron boldly adopted a decade before Paul Verhoeven’s film and dropped into Aliens about forty minutes in. We have references to a “bug hunt,” getting the shakes before a drop, female pilots, cameras mounted on the Marines so leaders behind the lines can see what the troopers on the point are seeing. Cameron clearly loved Heinlein’s novel and found a way to film it by dovetailing it neatly into his sequel to someone else’s film of someone else’s vision."

"What’s not to like? There are a few things, including four of my seven least favorite movie clichés: sitting bolt upright from a dream, yelling “no” at something that’s already happened, outrunning an explosion, and having a computer voice remind us that time is running out. Newt, the little girl who is the sole survivor of an ill-fated farming colony on LV-426, is witty, wise, and brave beyond her years, but when the chips are down she has nothing to contribute beyond screaming repeatedly. The marines talk in a 1970s idiom (“check it out,” “badass,” “get it on”) even though the movie is set in a future by which, surely, those vacuous expressions—which sounded false even in 1986—will be unheard of. Their weapons are so impractically huge as to be more comical than impressive. Indeed, most of the film’s machinery seems designed with its human interface only half thought-out, creating the impression of future man as a kind of industrial junkyard hybrid. And of course this underscores the mirroring effect of the android: a machine that is almost human interacting easily with humans who are almost mechanical."

"But the film’s many fine touches more than balance out the occasional clichés and annoyances. We cut from an alien larval parasite’s spidery legs gripping the head of a space farmer to a close shot of Ripley’s spidery fingers manipulating a cigarette. Cameron enjoys giving us Kubrick references: reverse tracking, especially long corridors; a kid riding a three-wheeler; human talks in alien environments; sidewise tracking cameras discover characters and events around corners; scenes are introduced and enhanced by drums; we’re won over by an android as logical and as humanly fallible and wistful as HAL. There’s even a tough-talking, verbally abusive sergeant whose attitudes and phraseology recall Gunnery Sergeant Hartman (but wait, that can’t be a Kubrick reference since Full Metal Jacket didn’t come out until after Aliens…) Aliens also shares Kubrick’s atmosphere of a desensitized future; but here, feelings aren’t deadened, but heightened. It’s more Clockwork Orange than 2001 everyone is edgy, resentful, suspicious, abusive; their only humor is insult-humor. These are the ‘80s, the era of The Road Warrior and dozens of other junkyard futurism films in which human behavior has been stripped to the essentials and human emotions reduced to raw-edged anger or screaming terror."

"Despite the relentlessly bleak and pessimistic view of future humankind, Aliens sings an ultimately joyful song, and I will always love it for the bold self-assurance with which Cameron does Heinlein and out-does Scott."

"Before he started developing Aliens, Cameron had a different kind of extraterrestrial-themed project in mind, tentatively titled E.T. That name, of course, changed once he learned of Steven Spielberg’s film — Cameron retitled it Mother after its maternal themes. The script languished until he started developing the Alien sequel. “I cribbed some chunks from [Mother]. But it seemed to fit very well,” Cameron told us. “In the same way we needed to evolve and ratchet up Sigourney’s character, we needed to take the nemesis — the idea of the alien — and take it to another level. It was kind of staring us in the face: There was this ship filled with all these eggs. … Who laid the eggs? Continued Cameron: “Now, a scene that was removed from Ridley’s film showed there was a closure of the life cycle where the humans were cocooned and became eggs. We just threw that out. In my mind, I didn’t go against canon because that scene hadn’t made it into the release cut. So, I thought, ‘You got a mother someplace.’ Now you’ve got two mothers. Obviously, I never went anywhere with [Mother] — I just stuck it all into Alien 2.”"

"”Sigourney set the bar. I was in awe of her before I ever met her. I had her picture up on the wall while I was writing the script,” said Cameron, who directed her to an Academy Award nomination for the performance. “No actress had gotten nominated for Best Actress for a genre picture until then, not for science fiction or horror.” “I was just starting Gorillas in the Mist, which was an intimidating project because I had to play a real person and I had never done that,” Weaver recalled. “So it [the Oscar nomination] was a real shot in the arm. I didn’t realize it was groundbreaking until Jim told me. He still thinks I should have won.”"

"“For better or for worse,” said Hurd, who currently produces The Walking Dead. “All of a sudden, sequels, which were not common then, became considered a little more viable.” “A lot more viable,” Cameron interjected. “At the time we made Aliens, the rule was that a sequel would cost twice as much and make half as much. So, it never looked like a particularly good business model.” Hurd said Aliens established a rulebook for making a quality sequel: “As opposed to formulaic filmmaking, go to an auteur and have the auteur write the script and reinvent the story while staying true to canon.” “It’s about answering a question they didn’t know to ask, but when they see it, it seems obvious,” said Cameron."

"In its first five days, “Aliens” took in a healthy $13.4 million at 1,437 theaters. Seven years after Ridley Scott’s space- noir classic “Alien” first arrived, “Aliens” looks like the runaway hit of the summer and may even surpass “Top Gun” when all the counting is done. But “Aliens” almost didn’t make it to the screen. In an era when it seems as if half the current releases are sequels feeding off yesterday’s fare, “Aliens” almost crashed and burned. At one point, 20th Century Fox, the studio releasing the film, nearly sold the rights to the sequel to the producers of “Rambo.”"

"Today, the lines for “Aliens” snake around the block even for weekday mid-afternoon screenings. The line to take credit for making “Aliens” is only slightly shorter. If movie-making is a collaborative art, the story behind the making of “Aliens” offers classic evidence that the number of contributors increases exponentially with the success of a film."

"Fall, 1983: The 42-page treatment, written in three days, was submitted to Fox where, because of lack of support for the idea, the project went into its own form of hyper-sleep. Said Cameron: “An executive told me he didn’t like the treatment because it was wall-to-wall horror and it needed more character development.” At one point a deal was almost closed to sell the rights to the sequel to producers Mario Kassar and Andrew Vanja (“Rambo”) but the lawyers couldn’t close the deal. Prospects for a sequel looked dim. July, 1984: Independent producer Larry Gordon was hired to replace former studio production head Joe Wizan. Finding few projects in the production pipeline, he looked for possible sequels and came across the “Aliens” file. “I couldn’t believe it hadn’t already been done,” Gordon said. “In this business there are those decisions you agonize and lose sleep over, but this was so obvious. It was a no-brainer.”"

"When Fox insisted that it would make “Aliens” with or without Weaver, Cameron and Hurd quit again, this time taking off for a honeymoon in Hawaii. Said Hurd: “We assumed it was a dead issue, and when we left for Hawaii we thought the movie was off.” But when they returned, the movie was on--with Weaver as the star. According to those close to the negotiations, she was paid close to $1 million in compensation plus a percentage of the profits, the highest salary she has earned to date in her career."

"September, 1985: “Aliens” finally started shooting on a London sound stage. After all the debate and questions about the budget, Hurd and Cameron brought in their movie on schedule and on budget. The studio loved the dailies and the buzz began to leak out: “Aliens” just might be the sleeper hit of the summer. But there was one more bitter struggle preceding the film’s opening. Fox wanted a movie of two hours or less but Cameron’s print came in at a lengthy 2 hours, 17 minutes. Nowadays, studios rarely release movies longer than 2 hours, 5 minutes, because the length cuts the number of daily screenings from five to four, substantially reducing the box-office take. For Fox to have the extra showing, Cameron would have had to cut 12 minutes. Late April, 1986: As Cameron and Hurd were working on their final “mix” (joining sound and picture together), Rudin flew to London to see their cut. Said Cameron: “We were standing on this London sidewalk and Rudin asked us if there was anything that could be cut. But we felt that if we had to take out 12 more minutes, the movie wouldn’t make sense.” Rudin acquiesced."

"Aliens is the perfect sequel. The Empire Strikes Back, while certainly a better film than Star Wars, was more a polished segment in a longer story than a stand-alone adventure. But Aliens is the model for every potential sequel-maker: it connects irrefutably with the events of the original (even to the point of starting exactly where the drama left off, albeit 57 years later) and expands on all the ideas and themes while simultaneously differentiating itself. The same, yet entirely different. Perfect. It also stands as testament to the unwavering vision and icy nerve of James Cameron (here directing only his third movie). Utilizing the bombed-out skeleton of Battersea Power Station to create the vast industrio-grim colony/hive setting for events, he was faced with a veteran British crew who had worked on Alien and worshipped the ground Ridley Scott walked on. What could this Canadian punk kid know? Well, for starters that in this case more is, indeed, more. Not just a single, ruthless, unbeatable killing machine but an army of them. On home turf."

"What also counts here is execution. Cameron accepted Scott's (and, of course, H. R. Giger's) design ethic — gloop, scaly bits, loadsa teeth and long, dark, dingy, dripping corridors — but reinterpreted them as a battleground rather than a haunted house. The point he grasped straight away is that you can't win against this foe or the stigma, the sheer terror that this endomorph engenders would be lost. You can only escape. He replaced Scott's "behind-you" tension with a muscular fury, unrelenting, sweaty-palmed, pant-filling movie intensity. Nothing before or since has locked the viewer in with such an all-consuming sense of peril (audiences and critics actually complained of physical discomfort even illness upon exiting the auditorium)."

"Thematically Aliens also expounds the set-up further. Central is a continuation of Scott and Dan O'Bannon's (the original screenwriter) bogeyman hypothesis — what if a lifeform was so attuned to survival it became the perfect killing machine and as such garnered a degree of Darwinisitic respect, even form its prey? Ash in Alien, lunatic android though he was, praised the monster for its "purity", even Ripley, confronted by the duplicity of company man Burke (Paul Reiser), has to admit that "You don't see them fucking each other over for a goddamn percent-age!" Then it really gets going: Alien as giant phallus (and now there's a whole army of them) versus feminist heroine. The feminist subtext is hardly "sub" at all, Ripley is one of the strongest female characters in movie history. Closer to Cameron's heart, and a theme that recurs throughout his work, is the preservation of the nuclear family. With Newt rescued and Ripley taking on the role of surrogate mother we only need add Hick's gentlemanly (but by no means dominant) father to complete our model of perfect family unit (the other survivor, the android Bishop, well, he's either a kindly uncle or the pet dog or something). This whole notion is finally boiled down to a remarkable battle of maternal instincts — Ripley defending her child Newt; the queen Alien defending (or, at least, avenging) her children — summed up memorably in Ripley's battle call: "Get away from her, you bitch!" The biology of the species has been developed to the point where empathy if not sympathy is acceptable. And if you want to keep this up there is the 'Nam in space metaphor: unseen "gooks" mounting stealth attacks and the retreating Yanks totally undone by a tactic and mindset they cannot comprehend (a metaphor for US foreign policy?). Yet none of such academic noodling is ever at the expense of the thrills. Cameron understood fundamentally the basis here was a gut reaction. Aliens construction of action scenes, its build-up of tension and its final execution of combat is a marvel to behold (the film literally provokes a physical reaction). These are characters we care about, headed up by a resourceful heroine who is pitted against a formidable enemy in a thoroughly believable environment. Pure movie."

"Sigourney Weaver - Ellen Ripley"

"Carrie Henn - Rebecca 'Newt' Jorden"

"Michael Biehn - Corporal Dwayne Hicks"

"Lance Henriksen - Bishop"

"Paul Reiser - Burke"

"Bill Paxton - Private Hudson"

"William Hope - Lieutenant Gorman"

"Jenette Goldstein - Private Vasquez"

"Al Matthews - Sergeant Apone"

"Mark Rolston - Private Drake"

"Ricco Ross - Private Frost"

"Colette Hiller - Private Ferro"

"Daniel Kash - Private Spunkmeyer"

"Cynthia Dale Scott - Corporal Dietrich"

"Tip Tipping - Private Crowe"

"Trevor Steedman - Private Wierzbowski"

"Hey, hey, hey — don't be mean. We don't have to be mean. 'Cause, remember: no matter where you go... there you are."

"I've been ionized, but I'm okay now."

"Evil! Pure and simple, from the 8th Dimension! Get 'em!"

"The missing circuit's in your head, Whorfin!"

"There are times when verbal ingenuity is not enough."

"Nobody is nobody. Everyone has something to offer."

"If all wishes were gratified, many dreams would be destroyed."

"In my experience, nothing is ever what it seems to be, but everything is exactly what it is."

"The only reason for time is so that everything doesn't happen all at once."

"Treat us good, we'll treat you better. Treat us bad, We'll treat you worse."

"I speak Spanish to God, French to women, English to men, and Japanese to my horse."

"We have no special constitutional powers, unless you consider the extraordinary rights accorded every U.S. citizen by law, in which case we are amply empowered to go about our business."

"Today's impossible is tomorrow's reality."

"Mystery is the source of all true art and science."

"Be cool, but care."

"Si Vis Pacem, Para Bellum. (If you wish for peace, prepare for war)."

"The only way to know if a man is trustworthy is to trust him."

"The Mind's a funny thing . . . in the Summer it longs for Winter. In the Winter it longs for Summer. In the Spring . . . it heads for the Bahamas."

"Know that, as in life, there is much that many have looked upon but few have seen because, as my father told me and his father told him, you will come to learn a great deal if you study the insignificant in depth."

"Those in a hurry show only that the thing they are about is too big for them."

"Nothing real can defeat us. Nothing unreal exists."

"Progress Over Protocol."

"The man who has ceased to fear has ceased to care."

"Live like you're gonna die tomorrow and study like you're gonna live forever."

"A battle won is a battle which we will not acknowledge to be lost."

"Asking is a polite way of demanding."

"A thousand pities cannot undo one thoughtless act."

"A fool can throw a stone into the water which ten wise men cannot recover."

"The Three Loves: love of others, the love of justice, and the love of freedom."

"The Four Beauties: Mind, Language, Behavior, and Environment"

"I tell ya, if it ain't one thing, it's another."

"{dying words} What are y'all lookin' at? You're on the clock. Let's saddle up, huh?"

"Laugh(a) while you can, monkeyboy!"

"Sealed with a curse as sharp as a knife: "Doomed is your soul and damned is your life.""

"History is'a made at night. Character is what you are in the dark."

"Jesú Christo! (It) [M]ake the ganglia TWITCH!"

"Home. Home is where you wear your hat. "I feel so broke up...I want to go Home!""

"May I pass along my congratulations for your great interdimensional breakthrough. I am sure, in the miserable annals of the Earth, you will be duly enshrined."

"{moments before dying in a fiery explosion} Banzai! I'll see you in HELL!!!"

"{repeated line} BigbooTAY!"

"Let's go back up to my office and talk about this like two reasonable beings."

"Put the snot on the track, John O'Connor."

"It's not my goddamn planet. Understand, monkeyboy?"

"{reading from a printed form} "Declaration of War... The Short Form"."

"Buckaroo, I don't know what to say. Lectroids? Planet 10? Nuclear extortion? A girl named "John"?"

"What are you talking about, man? Some kind of race war in New Jersey?"

"Excuse me, Mr. President. Time is short. In order to prevent John Whorfin's escape, my comrades are at this moment takin' up a geostationary position over New Jersey. De situation is explosive!"

"There is little time. You better come quickly if your planet is still important to you."

"Hellooo, Mr. Secretary! {finger flex}"

"Chase One Helicopter Pilot: This is Chase One. We got his tracks. They go right up to a wall of rock. Holy shit!"

"Hospital PA System: Lithium is no longer available on credit."

"Penny Priddy: I think I'm going crazy... Who's that girl, Buckaroo? What's going on around here? You drag me out of jail, you're... you're like Jerry Lewis, you give me hope to carry on, but... then you leave me in the lurch while you strap on your six-guns! What do you want from me, Buckaroo? Who am I?"

"Yoyodyne PA System: The only joy is the joy of duty. Work... work... work... Keep your nose to the grindstone."

"Red Lectroid Spaceship PA System: We are not in the Eighth dimension, we are over New Jersey. Hope is not lost."

"Sign for Yoyodyne Propulsion Systems: The future begins tomorrow."

"From the "Pinky Caruthers Unknown Facts" DVD feature: There is a term sometimes used at the Banzai Institute: The Three Bs, meaning the Bus, the Bath, and the Bed. That is where the greatest discoveries are made in science. When one is at his most relaxed, the most receptive... that is when a foreign consciousness, a "stray bullet" as B. Banzai calls it, may pop into one's head."

"Radio communication: Horizontal velocity is expanding, over."

"It just didn’t get the press or publicity it needed and the picture got lost in the shuffle."

"Beings from Another Dimension have invaded your world."

"You can't see them...but they can see you."

"Your only hope is Buckaroo Banzai."

"Expect the unexpected. He does."

"RUUUUUN, GOOOOO! GET TO THE CHOPPER!"

"You're one... ugly motherf***er!"

"[after pinning a man to the wall with his knife] Stick around."

"[after knocking down a door to shoot two more soldiers] Knock-knock."

"Blain: Bunch of slack-jawed faggots around here. This stuff will make you a god damned sexual Tyrannosaurus, just like me."

"Blain: Come on in, you fuckers. Come on in. Ol' Painless is waitin'."

"Anna: When I was little, we found a man. He looked like—like butchered. The old women in the village crossed themselves, and whispered crazy things, said strange things. El diablo cazador de hombres. Only in the hottest years this happens. And this year it grows hot. We begin finding our men. We found them sometimes without their skin, and sometimes much, much worst. El que hace trofeos de los hombres means... "The demon who makès trophies of men.""

"Nothing like it has ever been on earth before."

"It came for the thrill of the hunt. It picked the wrong man to hunt."

"Soon the hunt will begin."

"[from trailer] In a part of the world where there are no rules, deep in the jungle where nothing that lives is safe, an elite rescue squad is being led by the ultimate warrior. But now, they're up against the ultimate enemy. Nothing like it has ever been on earth before. We cannot see it, but it sees the heat of our bodies and the heat of our fear. It kills for pleasure, it hunts for sport. But this time, it's picked the wrong man to hunt."

"I always wanted to see something with mandibles."

"One of the great science fiction horror films, often imitated, but never properly duplicated, not even by its own sequel."

"There's something deeply hypocritical about a film that first establishes that its guerrillas are the evil variety by having one of them cold-bloodedly execute a hostage, then gives its squad of "expendables" free rein to cold-bloodedly murder all of them minutes later. It's the Reagan era all over: tobacco-chewing, tough-talking, US of A military triumphalism on one hand and self-pitying, bugle-salute sentimentalism on the other (when Bill Duke – giving the one thing in Predator that could actually be termed a performance – goes all misty-eyed over his microwaved buddy Ventura). Most of the big 80s action directors displayed some ambivalence towards the mildly fascistic butt-kicking mores of their chosen form: James Cameron developed his My Little Pony eco side; Paul Verhoeven sharpened his satire. But the full mess and insincerity and dumb contradictions are there unapologetically in Predator, a piece of preening post-Vietnam powder-puff for the US ego."

"I think Predator has odd moments of self-consciousness too. The one interesting (as opposed to efficient) piece of screenwriting is the scene after they've stormed the rebel encampment, when the alien hunter is watching the soldiers in infrared. Carl Weathers's CIA agent thanks Duke for skewering a deadly scorpion on his back; Duke's reply – "Any time" – is played back with menacing distortion by the predator, until it sounds like a warning. The radio operator (played by Lethal Weapon screenwriter Shane Black) tells a variation of the dirty joke he tried out in the helicopter, also concerning an echo. Landham finally gets it, and his booming laugh is picked up by the alien and played back, grotesquely. Echoes, echoes, and more echoes … until all the machismo is hollow. Something telling is going on here, tonally. The final image of the sequence is the predator watching the heat fade out of the scorpion in its own palm. It's like the film is saying: there's always someone bigger."

"Predator presents a confused but not unsympathetic mix of genres: the in-your-face, shape-shifting horror of Alien (film) and the sweaty military mystique of Rambo and Top Gun, with the whole salted by the camp humor and comic book heroics of the typical Arnold Schwarzenegger vehicle. It`s also, if only half-consciously, a political allegory, with something unformed but urgent to say about U.S. involvement in Central America."

"McTiernan had a good idea in making his monster all but invisible. (through the film`s first hour, his presence is suggested only through a clever optical effect). Schwarzenegger and his team are, to say the least, very definite physical presences; the only force that could possibly threaten them would be their opposite, something airy and unseen. McTiernan, regrettably, seems more interested in spectacle than suspense, and the attack sequences are filmed for splashy visual impact. And an apocalyptic finale that raises the antiwar message to the nuclear level is more than McTiernan's metaphor can bear. But Predator remains, if not exactly a thinking man`s Arnold Schwarzenegger movie, at least an Arnold Schwarzenegger movie that reflects some thought."

"In the context of racially charged white anxieties about immigration and social order, the historical demonization of Black men is a trope, a stereotype, that easily maps onto cinematic typecasting. The 1987 Hollywood film that launched the Predator franchise fits this pattern. Predator depicted a Black, dreadlocked, large and super-virile male in a way that converged white art with white political history. A white man once said he thought it was cool that I had dreadlocks like the Predator. This is not a compliment."

"Predator starts out as a second cousin to Rambo and Missing in Action, with Arnold Schwarzenegger (as Maj. Dutch Schaefer) leading a covert mission to find military operatives missing in Latin America. After 45 long minutes, he and his cohorts (among them Carl Weathers) find an enemy camp and conduct a raid. Knock, knock, says Mr. Schwarzenegger, kicking down the door to a hut. Stick around, he says, running somebody through with a sword."

"Predator, which opens today at the National and other theaters, is alternately grisly and dull, with few surprises, though the creature's face, when finally revealed, has an interesting claw configuration where its mouth ought to be. The habitat is a good deal more interesting than the action, since it contains both floristy-looking palm fronds and large, deciduous trees that have produced some autumn leaves. The film was shot in Mexico."

"Grisly and dull, with few surprises."

"Yeah, I think there’s something very unique about that movie. For one, the movie itself is something that inspired me to do mixed-genre pictures later. I remember going to see it with my older brother who was a bodybuilder and we saw every Arnold Schwarzenegger movie that came out and we went to see that one thinking it was a Commando type film and then it starts turning – I remember the audience reaction to the film in the theater, they were kinda confused when it turned sci-fi and horror and Arnold didn’t really win at the end, a Predator blows himself up and flies off looking like he’s going to a looney bin in a helicopter. And they were a little like "wow what was that movie?" And it just caught on and kept growing in popularity. And the movie itself was very unique."

""Predator" is an ominous high-tech Stone-Age mixture—ominous because the production is high tech and the script, and its values and mentality, are Stone Age. It's in the bare-bones action-adventure mode that producers Joel Silver and Lawrence Gordon used in "The Warriors" and "The Driver," chic action-fables where nothing impedes the streamlined flow—neither logic, originality nor a single naturalistic moment. Sometimes the form works, but in "Predator," they've hit nada. There's a difference between Walter Hill's minimalism and vacuity—which is what we get from Jim and John Thomas' screenplay. It's arguably one of the emptiest, feeblest, most derivative scripts ever made as a major studio movie. There's no need to do a Mad magazine movie parody of this; it's already on the screen."

"Slightly above-average actioner that tries to compensate for tissue-thin-plot with ever-more-grisly death sequences and impressive visual effects."

"Arnold Schwarzenegger - Major 'Dutch' Schaeffer"

"Carl Weathers - Agent Al Dillon"

"Elpidia Carrillo - Anna"

"Bill Duke - Sergeant 'Mac' Eliot"

"Jesse Ventura - Blain Cooper"

"Sonny Landham - Billy"

"Richard Chaves - Poncho"

"Shane Black - Hawkins"

"RG Armstrong - General Phillips"

"Kevin Peter Hall - Predator"

"Requiescat In Pace (lit. "May he/she rest in peace")."

"Vampires, gargoyles, warlocks, they're all the same — best when cooked well."

"To have memories of those you have loved and lost is perhaps harder than to have no memories at all."

"[About Frankenstein's monster] My life, my job is to vanquish evil. I can... I can sense evil. This thing, man, whatever it is - evil may have created it, may have left its mark on it, but evil does not rule it. So I cannot kill it."

"I'll find you. I'll get you back, I'll set you free! I swear to God!"

"[the first time he sees Dracula in the film] Now that I have your attention."

"[after cutting off Mr Hyde's arm] I'll bet that's upsetting."

"Why can't I have one of those? [reaction to the firing demonstration of the gatling gun]"

"[After Dracula offers to restore his memories] Some things are better left forgotten. [transforms into werewolf]"

"I was beginning to lose faith, Victor. A pity your moment of triumph is being spoilt over a little thing like grave robbery."

"You can't kill me, Victor. [forces swords through his own abdomen] I'm already dead."

"Why can't they just leave us alone? We never kill more than our fill. And less than our share. Can they say the same?"

"I have no heart! I feel no love... nor fear... nor joy... nor sorrow! I am... hollow. And I will live... forever."

"I'm at war with the world and every living soul in it!... But soon the final battle will begin. I must find out who our new visitor is."

"Werewolves are such a nuisance during their first full moon. So hard to control."

"I can tell the character of a man by the sound of his heartbeat. [starts clapping his hand like a heartbeat] Usually, when I approach [clapping speeds up] I can almost dance to the beat! [clapping slows] Strange that yours... is so steady."

"Is this your silver stake?"

"You are the great Van Helsing! Trained by monks and mullahs from Tibet to Istanbul! Protected by Rome herself! But, like me, hunted by all others."

"So, would you like me to refresh your memory a little, hmm? A few details from your sordid past? [Van Helsing holds up a silver crucifix; Dracula grabs it, roaring as it burns and melts in his hand] Perhaps that is a conversation for another time. Allow me to reintroduce myself. I am Count Vladislaus Dragulia. [bows] Born 1422. Murdered 1462."

"[talking to Anna Valerious] This is not all... I could do with your skin..."

"Gabriel... Oh, Gabriel... Oh, Gabriel... Welcome to my summer palace."

"Ladies and gentlemen, I give to you... VAN HELSING!"

"We are both part of the same great game, Gabriel, but we need not find ourselves on opposite sides of the board!"

"You are being used, Gabriel! As was I. But I escaped. So can you."

"[fighting Gabriel] Don't you understand?! We could be friends! Partners! Brothers-in-arms!"

"Did I mention that it was you who murdered me? It must be such a burden... such a curse... to be the Left Hand of God. All I want is life, Gabriel. The continuation of my kind. And perhaps [shows his hand, bending finger to make it look cut off] the return of my ring."

"I hope you have a heart, Aleera, because someday I'm going to drive a stake through it."

"He's the first one to kill a vampire in over a hundred years. I'd say that's earned him a drink."

"(To Gabriel Van Helsing) Some say you are a murderer Mr. Van Helsing, others say you are a holy man, which is it?"

"(To Aleera, who has been constantly saying she'll kill Anna and has just been stabbed by Anna) I think if you're going to kill somebody, kill them. Don't stand there talking about it."

"(Dancing with Count Dracula) I won't let you trade me, Count."

"[last words] For God."

"[To Van Helsing] Ah, there you are. So did you bring Mr. Hyde back, or did you kill him? Hmm... you killed him didn't you? That's why they get so annoyed! When they ask you to bring somebody back, they don't mean as a corpse!"

"A vampire is nothing like a warlock. My granny could kill a warlock."

"The air around here is thick with envy..."

"But I'm not a field man. Van Helsing! I don't want to go to Transylvania!"

"Actually, I'm still just a friar, so I can curse all I want... dammit!"

"Why does it smell like wet dog in here?"

"[Reads passage on a wall] Even a man who is pure in heart... and says his prayers by night... may become a wolf when the wolfbane blooms... and the autumn moon is bright. Or crave another's blood when the sun goes down... and his body takes to flight."

"Do we have a plan? I mean, it doesn't have to be Wellington's at Waterloo, but some kind of plan would be nice."

"[To Frankenstein's monster] Where are you going to go? I don't know if you've looked in the mirror lately, but you kind of stick out in a crowd."

"How many commandments can we break in one day?"

"If there's one thing I've learned, it's never to be the first one to stick your hand in a viscous material."

"[Aleera has just been horribly burned by the acid holding the werewolf cure] Viscous material! What did I tell you?"

"Cardinal Jinette: Without us, the world would be in darkness. Governments and empires come and go but we, we have kept mankind safe since time immemorial; we are the last defense against evil. An evil that the rest of mankind has no idea even exists."

"Undertaker: [after Van Helsing kills Marishka] Vampires only kill what they need to survive - one or two people a month. Now they will kill for revenge."

"Undertaker: Never too late to dig graves. You never know... when you need a fresh one."

"Frankenstein's monster: If you value your lives and the lives of your kind, you will kill me! If Dracula finds me... I am the key, to my father's machine. The key to life. Life, for Dracula's children."

"Frankenstein's monster: [in a carriage] By exposing me, you have condemned me! ME AND ALL OF HUMANITY! [Anna shuts the door on him]"

"Frankenstein's monster: [after Van Helsing is bitten by a werewolf] Now you will become that which you have hunted so passionately. [Van Helsing apologises and prepares to knock him out with a dart] May others be as passionate in their hunting of you."

"Frankenstein's monster: [to a crowd of vampires] YOU WRETCHED UNDEAD!!! I SHALL HAVE MY REVENGE!!! "THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH, I SHALL FEAR NO EVIL"!!! YOU ARE NOTHING BUT DAMNED BONES, AND DAMNED SOULS, AND WILL BURN IN THE FLAMES OF HEEEEEEELL!!!!!"

"Verona: Stop your teasing, Marishka, and finish him!"

"Verona: I can feel fresh blood rushing through her veins!"

"Aleera: [to Anna] Don't play coy with me, Princess. I know what lurks in your lusting heart..."

"Aleera: [drinking a freshly-killed man's blood from a glass] Thirty years old... perfectly aged."

"Aleera: Tsk, tsk, tsk. So much trouble to my Master. So much trouble."

"Aleera: You can go when I say you can go. And I say you can go when you're dead!"

"Aleera: Anna, my love... it is your blood that shall keep me beautiful! What do you think of that?"

"Marishka: Too bad, so sad."

"Mr. Hyde: You're a big one. You'll be hard to digest."

"Mr. Hyde: We all have our little problems. [eats his cigar]"

"Mr. Hyde: Here... I... come... ready... or... NOT! [as he dashes, about to smash him, Van Helsing cuts her flesh; then he knocked off by the bell] Oh... THE BELL! THE BELL!"

"Mr. Hyde: Ah, Paris! [grabs Van Helsing] I think you'll find the view over here rather spectacular! [dangles Van Helsing from church roof, laughing maniacally] It's been a pleasure knowing you. Au revoir! [drops him]"

"Mr. Hyde: [Van Helsing shoots him in the chest with a grappling hook, last words] My turn! [Pulls hard on the rope, forcing Van Helsing into the air]"

"Muslim Scientist: [after Carl accidentally causes an explosion] WHAT IN THE NAME OF ALLAH IS WRONG WITH YOU?!?"

"French Police Officer: [After Mr. Hyde is "killed" by Van Helsing] Van Helsing!! You MURDERER!!!"

"I was so surprised I'm doing any of this. I'm not interested in vampires at all. (Laughs) When I first got sent the script for Underworld I didn't read it, but then I thought, hmm, vampires and werewolves... not really my kind of thing. And then when I got the script for this, again, I thought, "Oh, it all has to do with vampires and werewolves". But I thought my character was so different. First of all, I'm not a vampire in this. (Laughs) She's a gypsy and she's much more passionate. It just seemed like a very good role."

"I would have been in huge trouble if I hadn't done Underworld because we had this great stunt coordinator who really would say, "Hey, now you're going to jump off that eighty-foot building, is that fine?" And you think "scary", but you go ahead and do it anyway. And I thought, "I've done that". That was really helpful."

"My reluctance was more... well, I knew from the moment I read it that the movies were very different, as you can tell after seeing it. And the characters are very different. My reluctance was more, I thought after shooting, and when I met Steve I was on my way to shoot X-Men 2 my reluctance was that I thought I was going to do a smaller independent movie after that; doing something different. I was a bit reluctant about being in another big, sort of, franchise kind of movie; a summer, popcorn movie in a way; because I thought I might just end up going down that road. And because they take so long to make, it's like a year of your life. And then I knew I was coming to Broadway for a year. So I figured, do I really want to be doing that? And of course, if it's successful, then X-Men 3 and then Van Helsing 2, then that would kind of be my film life, you know?"

"The One Name They All Fear."

"Adventure lives forever."

"Hugh Jackman as Gabriel Van Helsing"

"Kate Beckinsale as Anna Valerious"

"Richard Roxburgh as Count Vladislaus Dracula"

"David Wenham as Carl"

"Will Kemp as Velkan Valerious / The Wolf Man"

"Shuler Hensley as Frankenstein's monster"

"Silvia Colloca as Verona, the oldest bride of Dracula"

"Josie Maran as Marishka, the middle bride of Dracula"

"Elena Anaya as Aleera, the youngest bride of Dracula"

"Kevin J. O'Connor (actor) as Igor"

"Alun Armstrong as Cardinal Jinette"

"Samuel West as Dr. Frankenstein"

"Robbie Coltrane as Mr. Hyde (voice)"

"What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody. Anybody."

"Back when I was picking beans in Guatemala, we used to make fresh coffee, right off the trees I mean. That was good. This is shit, but hey, I'm in a police station..."

"The greatest trick the Devil ever pulled was convincing the world he didn't exist."

"To a cop, the explanation is never that complicated. It's always simple. There's no mystery to the street, no arch criminal behind it all. If you got a dead body and you think his brother did it, you're gonna find out you're right."

"What about it, Agent Kujan? If I told you the Loch Ness Monster blew up that boat, what would you say?"

"Keaton always said, "I don't believe in God, but I'm afraid of him." Well, I believe in God...and the only thing that scares me is Keyser Söze."

"And like that... poof... he's gone."

"How do you shoot the Devil in the back? What if you miss?"

"First day on the job, you know what I learned? How to spot a murderer."

"Convince me, and tell me every last detail."

"I'm smarter than you, and I'm going to find out what I want to know, and I'm going to get it from you whether you like it or not."

"You get NO immunity from me, you piece of shit! Every criminal I've put in prison, every cop that owes me a favor, every creep and scumbag that walks the streets for a living will know the name of Verbal Kint. Now you talk to me, or that precious immunity they seem so fit to grant you won't be worth the paper the contract put out on your life is printed on!"

"A rumor's not a rumor that doesn't die."

"I'm the guy that's gonna get you. I just wanted you to know that."

"[counting off the men he is about to shoot] One, two, three, four, five... Oswald was a fag."

"Old McDonald had a farm, ee-eye-ee-eye-oh/And on that farm he shot some guys... Bada bing, bada bing bang boom."

"One cannot be betrayed if one has no people."

"Get your rest, gentlemen. The boat will be ready for you on Friday. If I see you or any of your friends before then, Miss Finneran will find herself the victim of a most gruesome violation before she dies. As will your father, Mr. Hockney. And your Uncle Randall in Arizona, Mr. Kint. I might only castrate Mr. McManus's nephew, David. Do I make myself clear?"

"Stephen Baldwin - Michael McManus"

"Gabriel Byrne - Dean Keaton"

"Benicio del Toro - Fred Fenster"

"Kevin Pollak - Todd Hockney"

"Kevin Spacey - Verbal Kint"

"Chazz Palminteri - Dave Kujan, US Customs"

"Pete Postlethwaite - Kobayashi"

"Suzy Amis - Edie Finneran"

"[drunkenly] You again. I see that bald head of yours in my dreams. You had the nerve to ask me if I wazz a samurai. Didn't you, huh? I never forget a face. Look here, though I look like hell, I'm a real samurai, all right. Here. I got something for you. Damn jerks. Looky here. [He clumsily fumbles around in his robe, and presents a scroll from inside it] There, juzz you look at this. Izz been handed down in my family for generations and generations. And you asked me if I were a samurai! You jerks. Look at this, juzz look at this! Thazz me right there."

"What do you think of farmers? You think they're saints? Hah! They're foxy beasts! They say, "We've got no rice, we've no wheat. We've got nothing!" But they have! They have everything! Dig under the floors! Or search the barns! You'll find plenty! Beans, salt, rice, sake! Look in the valleys, they've got hidden warehouses! They pose as saints but are full of lies! If they smell a battle, they hunt the defeated! They're nothing but stingy, greedy, blubbering, foxy, and mean! God damn it all! But then . . . who made them such beasts? You did! You samurai did it! You burn their villages! Destroy their farms! Steal their food! Force them to labour! Take their women! And kill them if they resist! So what should farmers do? Damn it... [He sinks to his knees, sobbing] Damn it... God damn it..."

"[After having rung the alarm] Don't be so scared! No bandits are coming. Look here, you idiots. We came all this way and look at the welcome you give us! Yet when I ring the alarm a few times... [He runs up and down, mimicking the farmers] ... you all rush out screaming for us to help you! You bunch of suckers."

"[To a bunch of kids laughing at his impression of Yohei] Hey! I'm gonna start charging admission, you know."

"You there, chewing the cud. Can you cut that out? This isn't a cow barn!"

"[Kikuchiyo shambles into Rikichi's stable where the farmer had been staying.] It's me. I'm sleeping here from now on. Those guys cramp my style. [Humbled, Rikichi starts to hurry out, but Kikuchiyo grabs him] Stop cowering, you idiot! This is your place! You hand over your house and sleep in a barn and you still can't stand up for yourself! Go lie back down, you! [Kikuchiyo hurls Rikichi onto the straw, then lies down on the straw himself, with a straw mat over his body for a blanket. He sighs] Brings back memories."

"[to the village children]: Does any of you have a cute sister?"

"Hey, everybody! Give your wives plenty of lovin' tonight, you hear?"

"This baby... is me! This is exactly what happened to me! [He sobs]"

"I thought I told you to let us go, did I not? To think that instead you would choose your own death."

"[To Rikichi, who is farming] Couples always work harder together. You ought to get married yourself. [Rikichi drops everything and runs off, upset] Hey, come back! I was just kidding!"

"[To Rikichi] You know, it helps to open up your feelings."

"Danger always strikes when everything seems fine."

"I have no idea."

"[To Gorobei, about Minoru] You said he'd be a treasure during hard times. The hard times have only just begun."

"This is the nature of war. By protecting others, you save yourself. If you only think of yourself, you’ll only destroy yourself."

"Once more, we have survived."

"So. Again we are defeated. The farmers have won. Not us."

"Kikuchiyo. You're lucky it was us. If it was the bandits... you'd be looking for your head."

"Bandits are coming, you fool. Why worry about the beard, when the head is about to fall?"

"Takashi Shimura - Kambei Shimada"

"Isao Kimura - Katsushiro Okamoto"

"Yoshio Inaba - Gorobei Katayama"

"Daisuke Kato - Shichiroji"

"Seiji Miyaguchi - Kyuzo"

"Minoru Chiaki - Heihachi Hayashida"

"Toshiro Mifune - Kikuchiyo"

"The rifle is the first weapon you learn how to use, because it lets you keep your distance from the client. The closer you get to being a pro, the closer you can get to the client. The knife, for example, is the last thing you learn."

"I don't give a shit about sleeping, Leon. I want love, or death. That's it."

"I hope you're not lying Leon. I really hope that deep down there's no love in you. And if there is, I think in a few minutes you'll regret you never said anything. I love you Leon."

"I was 11 years old when I first read the script; and I remember reading it, I was sitting in my dad's study sitting in his chair; and I read it and I was crying at the end. I was a very sort of emotional little kid. My parents said, there is no way you're doing this movie; this is absolutely inappropriate for a child your age to do this film. And I was like; this is the greatest thing I've ever read; you will ruin my life, and I was fighting with them so much."

"He moves without sound. Kills without emotion. Disappears without trace."

"A perfect assassin. An innocent girl. They have nothing left to lose except each other. He moves without sound. Kills without emotion. Disappears without trace. Only a 12 year old girl... knows his weakness."

"You can't stop what you can't see."

"Jean Reno - Léon"

"Gary Oldman - Norman Stansfield"

"Natalie Portman - Mathilda"

"Danny Aiello - Tony"

"Peter Appel - Malky"

"[having just pressed the torpedo self-destruct; to weapons officer] Now, understand, Commander: The torpedo did not self-destruct. You heard it hit the hull. [shows CIA ID] And I... was never here."

"Invisible. Silent. Stolen."

"The hunt is on."

"Sean Connery - Captain Marko Ramius"

"Alec Baldwin - Jack Ryan"

"Scott Glenn - Commander Bart Mancuso"

"Sam Neill - Captain 2nd Rank Vasily Borodin"

"James Earl Jones - Admiral James Greer"

"Joss Ackland - Soviet Ambassador to the US Andrei Lysenko"

"Richard Jordan - US National Security Advisor Dr. Jeffrey Pelt"

"Peter Firth - Red October political officer Ivan Yurevich Putin"

"Tim Curry - Red October chief medical officer Dr. Petrov"

"Courtney B. Vance - Sonarman 2nd Class Ronald Jones"

"Stellan Skarsgård - VK Konovalov skipper Captain Tupolev"

"Jeffrey Jones - Oliver Wendell 'Skip' Tyler"

"Timothy Carhart - Bill Steiner"

"Larry Ferguson - Chief of the Boat Watson - USS Dallas"

"Fred Thompson - Rear Admiral Joshua Painter - USS Enterprise"

"In terms of logic and politics, The Hunt for Red October is most peculiar, but it's not without its entertaining moments. It's an elegy for those dear, dark, terrible days of the cold war, when it was either them or us, and before the world had become so thoroughly fractured that it's no longer possible to know exactly who the thems are."

"Merciful Father, I have squandered my days with plans of many things. This was not among them. But at this moment, I beg only to live the next few minutes well. For all we ought to have thought, and have not thought; all we ought to have said, and have not said; all we ought to have done, and have not done; I pray thee God for forgiveness."

"I do not enjoy heights!"

"[after learning he will be the 13th warrior] What the hell are you saying?"

"Across seas of monsters and forests of demons we traveled. Praise be to Allah, the Merciful and Compassionate. May His blessing be upon pagan men who loved other Gods, who shared their food, and shed their blood. That His servant, Ahmed Ibn Fahdlan, might become a man, and a useful servant of God."

"(watching the Viking funeral, as Herger translates into Greek) Lo there do I see my father; Lo there do I see my mother and my sisters and my brothers; Lo there do I see the line of my people, back to the beginning. Lo, they do call to me, they bid me take my place among them, in the halls of Valhalla, where the brave may live forever."

"The All-Father wove the skein of your life a long time ago. Go and hide in a hole if you wish, but you won't live one instant longer. Your fate is fixed. Fear profits a man nothing."

"[gives the Prince money after killing his henchman, Angus] See to your friend. He was a brave man."

"[Ahmed has killed a 'beast'] It's all right, little brother... there are more!"

"[reads newspaper] "Winged freak terrorizes". Wait till they get a load of ME!"

"Batman? Batman? Can somebody tell me what kind of a world we live in where a man dressed up as a bat gets all of my press?! This town needs an enema!"

"[in TV ad] New and improved Joker products! With the new secret ingredient - Smylex! Now, let's go over to our blind taste test. Uh-oh. He don't look happy. He's been using Brand X! [extends X sound as a hiss] But with new and improved Joker brand...I get a grin, again and again! That luscious tan! Those ruby lips! And hair color so natural, only your undertaker knows for sure! I know what you're saying: 'Where can I get these fine new items?' Well, that's the gag. Chances are, you've bought 'em already! So remember, put on a happy face!"

"[addressing Gothamites] And now, folks, it's time for "Who do you trust!" Hubba, hubba, hubba! Money, money, money! Who do you trust? Me? I'm giving away free money. And where is the Batman? He's at home, washin' his tights! [he and the crowds laugh; looks up into the sky and sees the Batwing] Winged bat flies through the night and finds me ready. [to Bob the Goon] Bob, Mask. [to crowd in the street as the other goons prepare their own gas masks and he brings out a radio transmitter] And now comes the part where I relieve you, the little people, of the burden of your failed and useless lives. But, as my plastic surgeon always said, If you've gotta go, go with a smile!"

"There was no guarantee that any of this was going to play correctly when it was all said and done. There had never been a movie like it before. There was a lot of risk, too, with Jack looking the way he did and me stepping out in this new way. The pressure was on everybody. You could feel it."

"We're standing there at one point, I'm in my bat suit, Jack is in Joker get-up and I just looked at him and said, 'We're grown men, right?'tq5 125325"

"I'll always stand by the first Batman. Even for its imperfections, people will never know how hard that movie was to do. A lot of that still holds up."

"I really wanted desperately to obviously do Two-Face… I wanted to see what I could do with it. It would have been different from Tommy Lee's. I've got my own kind of madness."

"Only one will claim the night."

"Justice is always Darkest before the Dawn."

"Michael Keaton - Batman/Bruce Wayne"

"Jack Nicholson - The Joker/Jack Napier"

"Kim Basinger - Vicki Vale"

"Robert Wuhl - Alexander Knox"

"Pat Hingle - Commissioner James Gordon"

"Billy Dee Williams - Harvey Dent"

"Michael Gough - Alfred Pennyworth"

"Jack Palance - Carl Grissom"

"Jerry Hall - Alicia Hunt"

"Tracey Walter - Bob the Goon"

"Lee Wallace - The Mayor"

"William Hootkins - Lt. Max Eckhardt"

"Edwin Craig - Antoine Rotelli"

"[to Max Shreck, after kidnapping him] Hi. I believe the word you're looking for is "AAAAAAAAHHHHHHHHHH!!!!!!!!" Actually, this is all just a bad dream. You're at home in bed, heavily sedated, resting comfortably...dying from the carcinogens you personally spewed in a lifetime of profiteering. Tragic irony, or poetic justice? You tell me."

"[to Shreck] Odd as it may seem, Max, you and I have something in common: we're both perceived as monsters. But somehow, you're a well-respected monster, and I am, to date, not!"

"[to Shreck] I wasn't born in the sewer, you know. I come from... [indicates to a broken skylight, then turns to Max] Like you! And like you, I want some respect! A recognition of my basic humanity! But most of all...I wanna find out who I am. By finding my parents, learning my human name. Simple stuff that the good people of Gotham take for granted!"

"[about his parents] I was their number one son, and they treated me like number two."

"[to a crowd of voters] I may have saved the mayor's baby, but I refuse to save a mayor who stood by, helpless as a baby, while Gotham City was ravaged by a disease that turned eagle scouts into crazed clowns and happy homemakers into catwomen!"

"Hey, why should I trust some cat-broad, anyway? Maybe you're just a screwed-up sorority chick who's gettin' back at her daddy for not buying her that pony when she turned sweet sixteen!"

"[after Catwoman rejects him] Ya lousy minx! I oughta have you spayed! You sent out all the signals! And I don't think I like you anymore! [catches her neck in his helicopter umbrella and sends her flying] Goodbye, my unintended. Go to Heaven."

"You gotta admit, I've played this stinkin' city like a harp from Hell!"

"[addressing his penguin army] My dear penguins, we stand on a great threshold! It's okay to be scared; many of you won't be coming back. Thanks to Batman, the time has come to punish all God's children! First, second, third and fourth-born! Why be biased?! Male and female! Hell, the sexes are equal, with their erogenous zones BLOWN SKY-HIGH!!! FORWAAAARD MARCH!!! THE LIBERATION OF GOTHAM HAS BEGUN!!!!! [the penguins start deploying]"

"They wouldn't put me on a pedestal, so I'm laying 'em on a slab!"

"[fighting Batman] You're just jealous because I'm a genuine freak, and you have to wear a mask!"

"[to crowd] But it's human nature to fear the unusual."

"I don't know about you, Miss Kitty, but I feel so much yummier."

"[after saving a woman from a mugger] You make it so easy, always waiting for some Batman to save you. I am Catwoman. Hear me roar."

"[falls into the back of a dump truck filled with gravel.] Saved by kitty litter... [looks at the burn mark left by Batman] Bastard."

"[to Penguin, rejecting his advances] I wouldn't touch you to scratch you."

"[when she and Bruce Wayne realize each other's secret identities] Oh my God...does this mean we have to start fighting?"

"The Bat. The Cat. The Penguin."

"Michael Keaton - Batman/Bruce Wayne"

"Danny DeVito - The Penguin/Oswald Cobblepot"

"Michelle Pfeiffer - Catwoman/Selina Kyle"

"Christopher Walken - Max Shreck"

"Michael Gough - Alfred Pennyworth"

"Pat Hingle - Commissioner James Gordon"

"Michael Murphy - the Mayor"

"Vincent Schiavelli - the Organ Grinder"

"Andrew Bryniarski - Charles "Chip" Shreck"

"Cristi Conaway - the Ice Princess"

"I just have all these memories of her — letting a live bird fly out of her mouth and learning to use the whip and jumping around rooftop sets in high heels. The work and just the performance were very, very impressive."

"I think I upset McDonald's. [They asked] 'What's that black stuff coming out of the Penguin's mouth? We can't sell Happy Meals with that!'"

"I think the studio just thought it was too weird — they wanted to go with something more child or family-friendly. In other words, they didn't want me to do another one."

"We got to be back home [filming in Burbank] so that made me happy. It was quite the cast with Michelle Pfeiffer and Danny DeVito and everyone. It wasn't as satisfying to me when I saw it, but maybe that’s because the bar was set so high on the first one. I think I only watched it one time. I knew we were in trouble in talks for the third one when certain people started the conversation with 'Why does it have to be so dark?' 'Why does he have to be so depressed?' 'Shouldn't there be more color in this thing?' I knew I was headed for trouble and that it wasn't a road I was going to go down."

"Remember, I came in when the audience was disturbed by Danny DeVito as the Penguin, and then Michelle Pfeiffer — which was still fabulous and maybe a little too S&M for some people."

"You ain't so bad, you ain't so bad, you ain't nothin'. C'mon, champ, hit me in the face! My mother hits harder than that!"

"Nothing is real if you don't believe in who you are!"

"The legend continues...The Italian Stallion is back!!"

"His life is happy, his fights have seemed easy. Now a young upstart is going to make him prove just how far he can still go..."

"A Fighter. A Lover. A Legend. The Greatest Challenge."

"The Excitement... The Power... The Man..."

"The greatest challenge."

"Sylvester Stallone as Rocky Balboa"

"Talia Shire as Adrian Balboa"

"Burt Young as Paulie Pennino"

"Carl Weathers - Apollo Creed"

"Burgess Meredith - Mickey Goldmill"

"Tony Burton - Tony "Duke" Evers"

"Mr. T - Clubber Lang"

"Ian Fried as Rocky Balboa, Jr."

"Hulk Hogan - Thunderlips"

"[After being taunted by DuPont, who is really Father] No. Not without incident."

"Look at you! [Pause, then to himself] Look at you..."

"Then you know what I'm going to do now?"

"Tetragrammaton. There's nothing we can't do."

"I didn't feel anything."

"I pay it gladly."

"Its circular. You exist to continue your existence. What's the point?"

"...without love, without anger, without sorrow, breath is just a clock ticking."

"But I being poor, have only my dreams, I have spread my dreams under your feet, tread softly because you tread on my dreams. (reading Aedh wishes for the Cloths of Heaven - W.B. Yeats)"

"I assume you dream Preston?"

"It's just a vestigial word for a feeling you've never felt. - After Cleric Preston claims to be sorry"

"You clean, we'll sweep."

"Cleric, I can only hope one day to be as uncompromising as you."

"You ask him for it. (in response to the interrogator's question: "What, would you say, is the easiest way to get a weapon away from a Grammaton Cleric?")"

"Mind the uniform, cleric. I plan to be wearing it for a long time... (moments before being killed by Preston)"

"I told you I'd make my career with you, Preston."

"It's my job to know what you're thinking."

"We have a network that's larger than you could ever imagine. Instant word comes that Father is dead, that the Council is leaderless. Bombs that have already been planted will be set off at Prozium clinics and factories around Libria. If we can succeed in disrupting the supply for even one day—one day—our cause will be won by human nature itself."

"[about Brandt] Take him to the Hall of Destruction for summary judgment and combustion."

"It's not the message that is important but our obedience to it."

"Be careful, Preston. You're treading on my dreams."

"A nearly unforgivable lapse, Cleric. I trust you'll be more vigilant in the future."

"You really should learn to knock."

"The Gun Kata. Through analysis of thousands of recorded gunfights, the Cleric has determined that the geometric distribution of antagonists in any gun battle is a statistically predictable element. The gun kata treats the gun as a total weapon, each fluid position representing a maximum kill zone, inflicting maximum damage on the maximum number of opponents while keeping the defender clear of the statistically traditional trajectories of return fire. By the rote mastery of this art, your firing efficiency will rise by no less than 120%. The difference of a 63% increase to lethal proficiency makes the master of the gun katas an adversary not to be taken lightly."

"Libria, I congratulate you. At last peace reigns in the heart of man. At last war is but a word whose meaning fades from our understanding. At last, we are whole. Librians, there is a disease in the heart of man. Its symptom is hate. Its symptom is anger. Its symptom is rage. Its symptom is war. The disease is human emotion. But Libria, I congratulate you, for there is a cure for this disease. At the cost of the dizzying highs of human emotion, we have suppressed its abysmal lows. And you, as a society, have embraced this cure: Prozium. Now we are at peace with ourselves and human kind is one. War is gone. Hate, a memory. We are our own conscience now, and it is this conscience that guides us to rate EC-10, for emotional content, all those things that might tempt us to feel, again, and destroy them. Librians, you have won. Against all odds, and your own natures. You, have, survived."

"Prozium - The great nepenthe. Opiate of our masses. Glue of our great society. Salve and salvation, it has delivered us from pathos, from sorrow, the deepest chasms of melancholy and hate. With it, we anesthetize grief, annihilate jealousy, obliterate rage. Those sister impulses towards joy, love, and elation are anesthetized in stride, we accept as fair sacrifice. For we embrace Prozium in its unifying fullness and all that it has done to make us great."

"In the first years of the 21st century, a third World War broke out. Those of us who survived knew mankind could never survive a fourth; that our own volatile natures could simply no longer be risked. So we have created a new arm of the law: The Grammaton Cleric, whose sole task it is to seek out and eradicate the true source of man's inhumanity to man - his ability to feel."

"...a single inescapable fact—that mankind united with infinitely greater purpose in pursuit of war...than he ever did in pursuit of peace."

"Libria... Awake. Awaken to triumph again in the face of yet another day,another step in our unified march into the unwavering purpose...move ahead together into the certainty of our collective destiny."

"...intrinsically, humans, as creatures of the Earth were drawn inherently always back to one thing—war. And thus we seek to correct not the symptom but the disease itself. We have sought to shrug off individuality, replacing it with conformity. Replacing it... with sameness... with unity, allowing each man, woman, and child in this great society to lead identical lives."

"The concept of identical environment construction allows each of us to head confidently into each moment with all the secure knowledge it has been lived before."

"Two millennia ago...in his conquest of the known world, Alexander the Great slaughtered more than one million human beings. Three centuries later, purely out of jealousy, Gaius Germanicus, "Caligula", murdered his own sister, impregnated with his own child."

"....The revolutionary precept of the hate crime."

"In a future where freedom is outlawed outlaws will become heroes. (U.S. DVD cover release)"

"Two men. One battle. No compromise. (U.K. DVD cover release)"

"You cannot get angry. You can get even. (U.K. Trailer)"

"The only thing more powerful than the system, is the man who will overthrow it. (Scandinavian DVD cover release)"

"Christian Bale — John Preston"

"Emily Watson — Mary O'Brien"

"Sean Bean — Erol Partridge"

"Taye Diggs — Brandt"

"Angus Macfadyen — DuPont"

"Red wine with fish... Well, that should have told me something."

"You won't be needing this, Old man!"

"Donald Grant: The first one won't kill you, nor the second, not even the third — not until you crawl over here and you kiss my foot!"

"[After electrocuting an assassin] Shocking. Positively shocking."

""Auric Goldfinger." Sounds like a French nail varnish."

"A martini. Shaken, not stirred."

"Man has climbed Mount Everest. Gone to the bottom of the ocean. He has fired rockets at the Moon. Split the atom. Achieved miracles in every field of human endeavour... except crime!"

"Mr Bond, they have a saying in Chicago: "Once is happenstance. Twice is coincidence. The third time it's enemy action." [From the original Ian Fleming novel]"

"James Bond is back in action! Everything he touches turns to excitement!"

"Miss Honey and Miss Galore Have James Bond Back For More!"

"Mixing business and girls! Mixing thrills and girls! Mixing danger and girls!"

"Sean Connery — James Bond"

"Honor Blackman — Pussy Galore"

"Gert Fröbe — Auric Goldfinger"

"Cec Linder — Felix Leiter"

"Desmond Llewelyn — Q"

"Shirley Bassey — "Goldfinger" singer"

"[at Col Jacques Bouvar's funeral] Madame, I've, er, come to offer my... sincere condolences. [punches the "widow" in the face]"

"[placing Fiona's body in a chair after her assassins accidentally shoot her; to other guests] Do you mind if my friend sits this one out? She's just dead."

"Sean Connery - James Bond"

"Claudine Auger - Dominique 'Domino' Derval"

"Adolfo Celi - Emilio Largo, SPECTRE #2"

"Luciana Paluzzi - Fiona Volpe"

"Rik Van Nutter - Felix Leiter"

"Guy Doleman - Count Lippe"

"Molly Peters - Patricia Fearing"

"Martine Beswick - Paula Caplan"

"Bernard Lee - M"

"Desmond Llewelyn - Q"

"Lois Maxwell - Miss Moneypenny"

"[about to make love to Helga Brandt] Oh the things I do for England."

"[Coded message to headquarters after being waylaid by attack helicopters] Little Nelly got a hot reception. Four big shots made improper advances toward her, but she defended her honour with great success."

"[after bond throws Hans into a piranha tank] Bon appetit."

"Welcome to Japan, Mr. Bond."

"You Only Live Twice...and "TWICE" is the only way to live!"

"Sean Connery - James Bond"

"Akiko Wakabayashi - Aki"

"Mie Hama - Kissy Suzuki"

"Tetsuro Tamba - Tiger Tanaka"

"Teru Shimada - Mr. Osato"

"Karin Dor - Helga Brandt"

"Donald Pleasence - Ernst Stavro Blofeld"

"Bernard Lee - M"

"Lois Maxwell - Miss Moneypenny"

"Desmond Llewelyn - Q"

"This never happened to the other fellow."

"He had lots of guts!"

"[After Tracy has been shot and killed; to a police officer responding to them] It's... It's all right. It's quite all right, really. She's having a rest. We'll be going on soon. [choking up] There's no hurry, you see. We have all the time in the world."

"George Lazenby - James Bond"

"Diana Rigg - Tracy Di Vicenzo"

"Telly Savalas - Ernst Stavro Blofeld"

"Gabriele Ferzetti - Marc Ange Draco"

"Ilse Steppat - Irma Bunt (final film role)"

"Angela Scoular - Ruby Bartlett"

"Lois Maxwell - Miss Moneypenny"

"Catherine Schell - Nancy"

"George Baker - Sir Hilary Bray"

"Bernard Lee - M"

"Bernard Horsfall - Campbell"

"Desmond Llewelyn - Q"

"Far Up! Far Out! Far More! James Bond 007 Is Back!"

"Victims; aren't we all...?"

"A whole jolly club, with jolly pirate nicknames!"

"Tell them death is coming for them tonight. Tell them Eric Draven sends his regards."

"Is that gasoline I smell?"

"He was already dead. He died a year ago, the moment he touched her. They're all dead. They just don't know it yet."

"It can't rain all the time."

"Take your shot, Funboy. You got me, dead bang."

"[Brings Darla to bathroom mirror] Mother is the name for God on the lips and hearts of all children. Do you understand? Morphine is bad for you. Your daughter is out there on the streets, waiting for you."

"Little things used to mean so much to Shelly."

"Believe me, nothing is trivial."

"You shouldn't smoke these. They'll kill ya."

"Guess it's not a good day to be a bad guy, huh, Skank?"

"I'm coming home, Shelly."

"[To Top Dollar on roof of cathedral] I have something to give you; I don't want it anymore. [Grabs Top Dollar's face administering Shelly's hospital procedures flashbacks] Thirty hours of pain! All at once! ...all for you... [throws Top Dollar off the roof]"

"[Realizes Eric has disappeared after holding him at gunpoint] Oh, great, great. Guy shows up looking like a mime from hell... and you lose him right out in the open. Well, at least he didn't do that walking against the wind shit. I hate that."

"So many cops, you’d think they were giving away donuts!"

"[To Eric after engaging Top Dollar and Grange in a gun fight at a cathedral] Ah, shit. Well, just came by to pay my respects... and here you are getting all shot up again."

"People once believed that, when someone dies, a crow carries their soul to the land of the dead. But sometimes, something so bad happens that a terrible sadness is carried with it and the soul can't rest. Then sometimes, just sometimes, the crow can bring that soul back to put the wrong things right."

"A building gets torched; all that is left is ashes. I used to think that was true about everything: families, friends, feelings... But now I know that sometimes, if love proves real, two people who are meant to be together — nothing can keep them apart."

"I thought you were dead. You're not dead, are you? I knew it was you. Even with the makeup. I remembered your song. You said, "Can't rain all the time." That is from your song, right? Come on, Eric. I know you're here. I miss you... and Shelly. Get so lonely all by myself. The hell with you. I thought you cared."

"[last lines] If the people we love are stolen from us, the way to have them live on is to never stop loving them. Buildings burn, people die, but real love is forever."

"[Holding a graveyard snow globe] Dad gave me this, fifth birthday. He said: "Childhood's over the moment you know you're going to die.""

"[Referring to a recently deceased woman in his bed] I think we broke her."

"He winked at you? Tsk, musicians."

"A boy and his bird. Awful touching."

"[Referring to Skank's near-unintelligible rant] Maybe we oughta just video tape this, play it back in slow motion."

"It seems our friend T-Bird won't be joining us this evening... on account of a slight case of death."

"A man has an idea. The idea attracts others, likeminded. The idea expands, the idea becomes an institution. What was the idea? That's what's been bothering me, boys. And I'll tell you, when I used to think about the idea itself, it put a big old smile on my face. You see, gentlemen... greed is for amateurs. Disorder, chaos, anarchy — now that's fun!"

"When I started the first fires in this goddamn city, before I knew it, every charlatan and shitheel was imitating me! You know what they got now? Devil's Night greeting cards. Isn't that precious? The idea has become the institution, boys. Time to move along."

"I want you to set a fire so goddamn big, the gods'll notice us again, that's what I'm sayin'. I want all you boys to be able to look me straight in the eye one more time and say: "ARE WE HAVIN' FUN OR WHAT?!""

"You're him, huh? The avenger. The killer of killers. Nice outfit. Not sure about the face, though."

"[Appears to Eric at a cathedral after Grange shoots a crow] Quick impression for yah... caw, caw, bang! Fuck, I'm dead!"

"You know, my daddy used to say, "Every man's got a devil, and you can't rest til you find him." What happened back there with you and your girlfriend... I cleared that buildin'. Hell, nothin' in this town happens without my say-so. So I'm sorry if I spoiled your wedding plans there, friend. But if it's any consolation to ya, you have put a smile on my face. You got a lot of spirit, son. I am gonna miss you."

"[Injecting Darla with heroin] Tomorrow night we can get high... and watch this whole fucking city burn from that window."

"[When Darla points out crow in room] It's a squab. Come here, bird. Hey, bird. Hey, bird. Bird. B-B-Birdie. Here, birdie, birdie. Come here, birdie, birdie, birdie. Birdie? Hey, birdie?"

"[Eric comes in window] What the fuck?! No, man! Don't do that! You nearly gave me a fucking heart attack!"

"[About to rape Shelly] I've got a gun in my pocket. You're happy to see me, aren't you?"

"[To Eric] Get away, steamhead."

"[Crow flies into window and perches on television set] There's a big fucking bird over there!"

"I love her eyes. Pretty."

"There are energies aligning against you."

"[When Top Dollar proposes setting fires on Devil's Night for profit] I like the pretty lights."

"Her eyes are so... innocent"

"This is all the power you ever had. Now it is mine. Pity there’s not more time... [aims gun at Eric] for us."

"You know that Lake Erie actually caught fire on once, from all the crap floating around in it? I wish I coulda seen that."

"Abashed the Devil stood; and felt how awful Goodness is."

"Here's to Devil's Night, my new favorite holiday."

"Hey, guess what. Arcade Games fell down, went boom."

"Remember? Yeah, I remember everything ... But I don't know what ... what? What? What're you talking about. No, no, no, no. You mean that place downtown?"

"I know you. I know you. I knew I knew you. I knew I knew you, but you ain't you. You can't be you, we put you through the window. There ain't no comin' back. This is the really real world, there ain't no comin' back. We killed you dead, there ain't no comin' back! There ain't no comin' back! There ain't no comin' back! "Abash, the devil stood, and felt how awful goodness is...""

"Whaddya want, man? Money? Drugs? I got 'em. We could use you—you did Tin Tin. This is business, right?"

"Ah look, makin' us popular. When they flash us like that, they ain't friends."

"If you got something personal, amigo, we can work it out, right?"

"You cheap-ass, chrome-dome, child-molesting, saprophyte motherfucker!"

"Lucky I didn't stab your fat ass."

"What the fuck you all painted up for, crackhead, huh? Halloween ain't till mañana."

"Shelly... yeah. Yeah. I shanked her pink ass and she loved it!"

"Murderer? Murderer?! Let me tell you about murder: it's fun, it's easy, and you gonna learn all about it. I'd like you to meet two buddies of mine. We never miss."

"I feel like a little worm on a big fuckin' hook!"

"That's him. That's him! But he looked different. He was painted up white like some kind of dead whore. I seen him. T-bird sent me in for some road beers, right? Then he took him away. But I chased him down. And he flash fried T-bird to his fucking car! Aw, T-bird! Here's to you, buddy."

"Goddamn creatures of the night. They never learn"

"Don’t any of your street demons have real grown-up names?"

"I've got a goddamn vigilante killer out there knocking off scum bags left and right, and you're covering up for somebody."

"[Hands file on Albrecht's desk] Don't thank me. Are we fighting the good fight?"

"[Eric throws Skank out the window. He lands on the cop car from the chase scene] WHAT IN THE CRAP?!"

"Believe in angels."

"In a world without justice, one man was chosen to protect the innocent."

"Real love is forever."

"Darker than the bat."

"Brandon Lee - Eric Draven"

"Rochelle Davis - Sarah"

"Ernie Hudson - Sergeant Albrecht"

"Michael Wincott - Top Dollar"

"Bai Ling - Myca"

"Sofia Shinas - Shelly Webster"

"David Patrick Kelly - T-Bird"

"Angel David - Skank"

"Laurence Mason - Tin Tin"

"Michael Massee - Funboy"

"The Crow doesn't seem like a comic that Hollywood would be keen on turning into a big-budget motion picture. The title character also known as Eric Draven doesn't have much in common with Superman, Captain America or Ant-Man, who wear multi-colored costumes and fight to protect the innocent. Eric is angry, inconsolable and filled with hate. He kills without remorse. He knows he's a monster; he's not particularly concerned with morality. His attitude and lack of a colorful costume make him an unlikely candidate for a line of poseable action figures for kids. And yet somehow this successful underground comic book series got the green light for a movie back in 1994, long before movie executives knew that you could just throw a hunk like Ryan Reynolds in a suit and tickets would sell."

"It poses some really interesting questions. If you died, and then somehow a year later you had one day, two days, to come back, what would you do?"

"This is a person who has been pushed right to the limits of his ability to cope what is going on. And in a sense is quite mad sometimes... In a sense completely insane, almost in a sense that you might think of an insane person having voices. More rational voices that try to guide him...More irrational voices that come from a more emotional... More deep-seated place. I think that the crow his that rational voice, the crow is his guide."

"I was involved on the first film, but I had nothing to do with those piece of shit sequels. I really just divorced myself from those, because it really was never meant to be a franchise and they tried to turn it into this James Bond series. I can understand doing more Crow films if they just used the themes: love and loss, reckoning, retribution and justice. Those are universal themes that can be set in any time or place. BUT trying to keep repeating that first film was just a horrible mistake."

"[narrating] I had lost my sight, but I got something back in return. My remaining four senses functioned with superhuman sharpness. But most amazing of all, my sense of sound gave off a kind of radar sense."

"[narrating] High above the city streets, I trained my body and my senses. An acute sense of touch gave me both strength and balance, until the city itself became my playground."

"[narrating] I waited outside the Olympic for my father. In some ways, I'm still waiting. Nobody cared much about the death of a washed-up prizefighter... nobody but me."

"[narrating] I would keep my promise. I would help those that others wouldn't. I would seek justice... one way or another."

"Can one man make a difference? There are days when I believe, and others when I have lost all faith."

"Mister Quesada, for your sake, I hope justice is found here today... before justice finds you."

"Hey, that light at the end of the tunnel? Guess what? That's not heaven. That's the C train!"

"When it rains, it's like there's a rooftop on the world. Each raindrop makes a sound the first time it falls on a surface. Just then, it's like I-I... it's like I can see again. And I-I just want to... I just want to see you."

"I tried, Father. I tried. This is who I am."

"If there are no eyewitnesses, I mean, you know, Bigfoot has eyewitnesses."

"[narrating] Hell’s Kitchen is my neighborhood. I prowl the rooftops and alleyways at night. Watching from the darkness. Forever in darkness. A guardian devil."

"You should know that the only reason I got dressed up for this thing was that I wanted to look beautiful for you. I wish you could see me tonight."

"It's just... good things don't happen to me very often. When they do, I get scared."

"You don't know how I feel. I want revenge."

"I want to look into the eyes of my father's killer as he dies."

"I missed. I NEVER miss!"

"I want a bloody costume!"

"You're good, baby, I'll give you that. But me? I'm magic."

"'Man without fear' [chuckles] Looks like I found something you're afraid of. Let's bring on the pain! Let's bring on the noise!"

"The press want a Kingpin, so I'll give them a Kingpin. Get me Bullseye."

"Nobody's innocent. Nobody."

"It's a shame you came here wounded. I would've loved to fight you in your prime. They called you the man without fear. If that's true, why are you afraid to show your face?"

"There are alligators in the sewers! Don't ride my ass about the alligators. I got a friend in Sanitation, okay? He's seen them!"

"That place is gonna be crawling with people, rich people! People who pay their legal fees with money, not with fish, or with-with-with wheels of cheese, or with sports supplies! I'm gonna fill you in on a little secret, Matt. This doesn't look like a law office, okay? It looks like the set of goddamn "Sanford and Son". Every time I walk in, I'm waiting for Lamont to come down the stairs!"

"Matt Murdock's answering machine: Matt, it's Heather. Are you there? Of course you're not there. You're never there. At least, not for me. Look, I didn't want to do this over the phone, but it's not like you've given me any choice. I mean, It's been three months, and I've never even seen your apartment. Every time we sleep together, I wake up in the morning alone. I mean, Jesus, where do you go at three o'clock in the morning?"

"Jack Kirby: You said to look out for anything weird, yes? Well, it's some pretty weird shit right here, man, right?"

"Q: How did you prepare to play a blind man?"

"I was very familiar with the Kingpin. When I read the comic books, that was the only person I read it for. Growing up like I did, I never thought I'd be able to portray this guy. When they came to me and said I could be the Kingpin and I get to fight Ben, I said, 'Yeah!' It was like a dream come true.""

"There must be a woman, and in "Daredevil" there is one (only one, among all those major make characters, although the fragrant Ellen Pompeo has a slink-on). She is Elektra Natchios (Jennifer Garner), who, like her classical namesake, wants to avenge the death of her father. By day, she is, well, pretty much as she is by night. She and Daredevil are powerfully attracted to each other, and even share some PG-13 sex, which is a relief because when superheroes have sex at the R level, I am always afraid someone will get hurt. There is a rather beautiful scene where he asks her to stand in the rain because his ears are so sensitive they can create an image of her face from the sound of the raindrops."

"Daredevil describes himself as a "guardian devil," and that means there are guardian angels, and that means God exists and, by a process of logical deduction, that Matt Murdock is a Catholic. Please address your correspondence to Rome. The movie is actually pretty good. Affleck and Garner probe for the believable corners of their characters, do not overact, are given semi-particular dialogue, and are in a very good-looking movie. Most of the tension takes place between the characters, not the props. There is, of course, a fancy formal ball to which everyone is invited (Commissioner Gordon must have been at the rival affair across town)."

"Q: In this movie you’re playing an unrelentingly bad villain. Did you work on finding the human side of the villain?"

"Q: How does Daredevil compare to other comic book heroes?"

"‘Daredevil’ was an R and I had to cut things out to make it a PG-13 and this is just like, there is so much stuff in it that I thought, ‘Oh my God, we’re dead.’ But we made it which is amazing. You know what’s funny is that what made ‘Daredevil’ an R is there was this scene where Bullseye kills Elektra, he gutted her – that was okay. He kissed her afterwards and then he threw her down. The kiss gave us an R. Isn’t that weird? Its okay to kill a girl, but you just can’t kiss her afterwards because somehow that’s repulsive. I don’t know."

"Last time it was like, ‘We love “Daredevil,” but we don’t want to do horns and a costume. It’s silly.’ It was like, ‘But that’s it. That’s the character.’ That’s the hard part. Fans get angry and are like, ‘He’s in a leather costume. That’s not what the comic is.’ You want to say, ‘Look, I love you guys, but you don’t understand. There was no costume! I fought just to get a costume and just to have the horns and the double d. That was months of fighting.’ Again though, no one is the bad guy here. They gave me a big shot and they were very supportive in the end, but these movies are difficult. They’re very hard."

"Daredevil…gets his ass kicked a lot in the movie. I think that’s cool! You know what I mean? Because anybody that gets hit fifty times in a Hong Kong movie and they’re fine, there’s always this like BOP-BOP-BOP-BOP-BOP and then there’s that one BOP and a guy goes flying and it’s like, what was so special about that one and why didn’t you do that sooner, dude? What have you been doing this for?"

"I wanted to show like, instead of ‘golly gee, how great to be a superhero,’ I wanted to show the dark side of being a superhero. That was really appealing to me to show something different."

"Ben Affleck - Matt Murdock/Daredevil"

"Jennifer Garner - Elektra Natchios"

"Colin Farrell - Bullseye"

"Michael Clarke Duncan - Wilson Fisk/the Kingpin"

"Jon Favreau - Franklin Nelson"

"Joe Pantoliano - Ben Urich"

"David Keith - Jack Murdock"

"Derrick O'Connor - Father Everett"

"Leland Orser - Wesley Welch"

"Lennie Loftin - Detective Nick Manolis"

"Erick Avari - Nikolas Natchios"

"Paul Ben-Victor - Jose Quesada"

"Scott Terra - Young Matt"

"Mark Margolis - Fallon"

"Ellen Pompeo - Karen Page"

"Kevin Smith - Jack Kirby (Forensic assistant)"

"Coolio - Dante Jackson (director's cut)"

"I am William Wallace! The rest of you will be spared. Go back to England, and tell them there, that Scotland's daughters and her sons are yours no more! Tell them Scotland is free!"

"I'm so afraid. Give me the strength to die well."

"In the year of our Lord 1314, patriots of Scotland, starving and outnumbered, charged the fields of Bannockburn. They fought like warrior poets. They fought like Scotsmen. And won their freedom."

"Not the archers. My scouts tell me their archers are miles away and no threat to us. Arrows cost money. Use up the Irish. The dead cost nothing."

"I gave Mornay double his lands in Scotland, matching estates in England. Lochlan turned for... for much less."

"Bring me Wallace, alive if possible, dead ... just as good."

"Someday, you will be king, at least try to act like one!"

"The trouble with Scotland...is that it's full of Scots!"

"I shall tell you of William Wallace. Historians from England will say I am a liar, but history is written by those who have hanged heroes. The King of Scotland had died without a son and the King of England, a cruel pagan known as Edward the Longshanks, claimed the throne of Scotland for himself. Scotland's nobles fought him, and fought each other, over the crown. So Longshanks invited them to talks of truce — no weapons, one page only. Among the farmers of that shire was Malcolm Wallace, a commoner with his own lands. He had two sons, John and William."

"Many years later, Edward the Longshanks, King of England, supervised the wedding of his eldest son, who would succeed him to the throne. As bride for his son, Longshanks had chosen the daughter of his rival: the King of France. It was widely whispered, that for the princess to conceive, Longshanks would have to do the honors himself. That may have been what he had in mind all along."

"After the beheading, William Wallace's body was torn to pieces. His head was set on London Bridge, his arms and legs sent to the four corners of Britain as a warning. It did not have the effect that Longshanks planned. And I, Robert the Bruce, rode out to pay homage to the armies of the English King and accept his endorsement of my crown."

"Your heart is free. Have the courage to follow it."

"Every man dies. Not every man really lives."

"What gives men the will to fight hard...the passion to bleed long...the strength to die well?"

"His passion captivated a queen. His courage inspired a nation. His heart defied an empire."

"In a land of timeless beauty, William Wallace was a man of peace. But when a ruthless king threatened his home, and murdered the woman he loved, William Wallace was driven to war...and to win for his people something they never dreamed of having. Their own country. (from theatrical trailer)"

"Who does history remember? Those who beg for mercy? Or those who bleed for freedom?"

"To dwell in the shadow of a crown is not to truly live."

"What could drive a man to revolt against a kingdom...and what sort of people would fight beside such a man?"

"Nations rally not behind titles...but alongside courage."

"Mel Gibson - William Wallace"

"Sophie Marceau - Princess Isabella of France"

"Angus Macfadyen - Robert the Bruce"

"Patrick McGoohan - King Edward "Longshanks""

"Catherine McCormack - Murron MacClannough"

"Brendan Gleeson - Hamish"

"Peter Hanly - Prince Edward"

"James Cosmo - Campbell"

"David O'Hara - Stephen of Ireland"

"Ian Bannen - Bruce's father"

"Seán McGinley - MacClannough"

"Brian Cox - Argyle Wallace"

"Sean Lawlor - Malcolm Wallace"

"Sandy Nelson - John Wallace"

"Stephen Billington - Phillip"

"John Kavanagh - Craig"

"Alun Armstrong - Mornay"

"John Murtagh - Lochlan"

"Don't Shoot, You'll Spoil The Sequel!"

"Oh my god! They have guns!"

"See it before they make the sequel."

"We'd like to have been nominated for 9 ACADEMY AWARDS"

"Oh my God! They're on video!"

"Emilio Estevez - Sgt. Jack Colt"

"Samuel L. Jackson - Sgt. Wes Luger"

"Jon Lovitz - Becker"

"Tim Curry - Mr. Jigsaw"

"Kathy Ireland - Miss Destiny Demeanor"

"Frank McRae - Captain Doyle"

"William Shatner - General Curtis Mortars"

"F. Murray Abraham - Dr. Harold Leacher"

"You know there is a saying, a very old saying: when the pupil is ready the master will appear."

"A nobleman is nothing but a man, who says one thing and thinks another."

"Lesson number one: never attack in anger."

"That is the way they are dancing in Madrid these days... Don Rafael, you'll have to excuse me, I have to catch my breath. Your daughter is a very spirited dancer."

"All this sword play, and riding around on horses, it gives me a frightful headache."

"Murrieta’s brother or not, you are more than you pretend to be."

"You're doing very well. Your brother would have shot himself by now."

"Strange I'd say, it's the second time I've shot this man while he was flying through the air."

"He was vigorous and young. (smiles then looks serious) He was very vigorous, Father."

"When freedom is a memory and justice is outlawed, the just must become outlaws."

"No one has seen his face....but everyone....knows this mark."

"This summer, justice leaves its mark."

"Antonio Banderas - Alejandro Murrieta / Zorro:"

"Anthony Hopkins - Don Diego de la Vega / Zorro:"

"Catherine Zeta-Jones - Elena Montero:"

"Stuart Wilson - Don Rafael Montero:"

"Matt Letscher - Captain Harrison Love"

"Tony Amendola - Don Luiz"

"Pedro Armendáriz, Jr. - Don Pedro"

"Victor Rivers - Joaquín Murrieta"

"L. Q. Jones - Three-fingered Jack"

"Julieta Rosen - Esperanza De La Vega"

"Maury Chaykin - Prison Warden"

"Boy, y'know, every time I see 'Hole in the Wall' again, it's like seeing it fresh for the first time, and every time that happens, I keep asking myself the same question, 'How can I be so damn stupid as to keep comin' back here?'"

"If he'd just pay me what he's spending to make me stop robbing him, I'd stop robbing him."

"[Butch throws his bicycle away] The future's all yours, you lousy bicycles."

"Not to be a sore loser, but, when this is done if I'm dead, kill him."

"Who are those guys?"

"The specialty of the house and it's still movin"

"Sheriff Ray Bledsoe: You know, you should have let yourself get killed a long time ago when you had the chance. See, you may be the biggest thing that ever hit this area, but you're still two-bit outlaws. I never met a soul more affable than you, Butch, or faster than the Kid, but you're still nothing but two-bit outlaws on the dodge. It's over, don't you get that? Your time is over and you're gonna die bloody, and all you can do is choose where."

"Percy Garris: I'm not crazy; I'm just colorful. That's what happens when you live 10 years alone in Bolivia: you get colorful... [He is shot dead]"

"Paul Newman - Butch Cassidy"

"Robert Redford - Sundance Kid"

"Katharine Ross - Etta Place"

"Strother Martin - Percy Garris"

"Jeff Corey - Sheriff Ray Bledsoe"

"George Furth - Woodcock"

"Cloris Leachman - Whore"

"Ted Cassidy - Harvey Logan"

"Charles Dierkop - Flat Nose Curry"

"You never met a pair like Butch and The Kid."

"Just for the fun of it!"

"Not that it matters, but most of it is true."

"They're taking trains... They're taking banks and they're taking one piece of baggage!"

"I've never killed in my life. Sandmen terminate runners."

"That sweet madman. How could he come to exist?"

"Just so many people want it to exist, so many people who don't want to die... They want it so much that a place called Sanctuary becomes real. But it doesn't exist. It never existed. Just... just the hope."

"You know, Logan, you wonder a lot. Too much for a Sandman."

"You know, when you question, it slows you down."

"It's crazy. He could have renewed on Carousel. Now he's finished forever. Why do they run?"

"Logan! Listen to me! I'm your friend. I understand. We all go crazy once in a while. Nobody knows except me. I won't tell. I could have turned you in. I didn't. But she's a runner. But it's over. Terminate her! Now! You're a Sandman! Now, Logan! Now!"

"You thought I wouldn't find you, didn't you? You thought I'd quit, huh? What did you do to him? You know what he was? He was a Sandman. He was happy. You ruined him. You killed him."

"What's the matter with you? He's a runner! He's blinking! We must help anyone who asks. We must! Or we're the same as they are, deciding who lives and who dies!"

"I hate outside! I hate it! I hate it!"

"Upon seeing the gravestones: 'Beloved husband.' 'Beloved wife.' I wonder what it means."

"Those cracks in your face, do they hurt?"

"You know, they've each got three names. Yes. The naming of cats is a difficult matter, It's just not one of your holiday games; You may think at first that I am mad as a hatter, When I tell you that each cat's got three different names. See, they got their ordinary name and then they got their fancy name. And that makes two names, doesn't it? And now it's got a third name. Can either of you two guess what that third name is? (beat) Come on! (beat) Above and beyond, there's one name that's left over, and this is the name you never will guess. The name that no human research can discover, but the cat itself knows, and never will confess."

"Why did you want to see my hand earlier, show me yours. [Logan opens his left hand, revealing his embedded clear life-clock.] Oh my. [Jessica does the same, showing hers] Can I have one of those?"

"Welcome, humans! I am ready for you! Fish, plankton, sea greens and protein from the sea. Fresh as harvest day. Overwhelming, am I not? Are you, too, startled? Am I too removed from your ken?"

"I'm more than machine or man. More than a fusion of the two."

"Welcome to the 23rd century. A perfect world of total pleasure...with just one catch."

"The only thing you can't have in Logan's world is your 30th birthday...Unless you run away...And Logan is 29."

"Imagine a world where each and every day is the best day of your life...until you turn 30."

"A movie that begins where your imagination ends."

"MGM puts the 23rd century in the palm of your hand."

"It will be here sooner than you think."

"If all the animals on the equator were capable of flattery, then Thanksgiving and Halloween would fall on the same date."

"[watching "Happy Days" dubbed in Italian] That guy doing Potsie is unbelievable."

"Do I look 50 to you?"

"A doctor specializing in skin diseases will dream he has fallen asleep in front of the television. Later, he will wake up in front of the television, but not remember his dream."

"[to Topher Grace] Geez, Topher, you don't have to go all Frankie Muniz on me."

"(to Danny Ocean) 10:45, we all get arrested."

"(to Linus Caldwell) If you are going to ask me a question give me some time to respond, unless the question is rhetorical in which case the answer is obvious, yes."

"[about Danny] Where is he, Tess? Where is... Mr. Diaz?"

"[to Rusty Ryan] I was asked to show some restraint. Otherwise, you would have gone out to your favorite car with all the 17 you own and as soon as you turn on the ignition--[car explodes] You got two weeks."

"[to Linus] Who died and made you Danny?"

"[to Isabel, who is posing as Nicole, about Rusty Ryan] And tell him it's gonna cost him double. [pause] And tell him this thing is beautiful. And tell him I'm being a nice guy. And tell him he dresses like a gigolo. (on being asked if that is all) Yeah. No! Tell him—tell Rusty that having a sexy female assistant is such a terrible cliche. [Hangs up. Sexy female assistant emerges with Nagel's treo and brings him a coffee]"

"[ to Turk] Yeah, well I need to use the toilet otherwise I'm gonna shit on your shoes! C'mon Frank..."

"Are you having some telethon we don't know about?!"

"[Meeting a fortune teller, notices Benedict and his goons behind him] THIS? You couldn't see this?!"

"Twelve is the new eleven"

"Three years ago, they stole 160 million dollars. Now the only thing between their old enemy and their new one is an Ocean."

"Who could ever forget that thing they did that time to that guy?"

"George Clooney - Daniel Ocean"

"Brad Pitt - Rusty Ryan"

"Matt Damon - Linus Caldwell"

"Julia Roberts - Tess Ocean"

"Catherine Zeta-Jones - Isabel Lahiri"

"Andy Gracia - Terry Benedict"

"Don Cheadle - Basher Tarr"

"Vincent Cassel - François "The Nightfox" Toulour"

"Albert Finney - Gaspar LeMarc (uncredited)"

"Bernie Mac - Frank Catton"

"Casey Affleck - Virgil Malloy"

"Scott Caan - Turk Malloy"

"Shaobo Qin - "The Amazing" Yen"

"Carl Reiner - Saul Bloom"

"Eddie Jemison - Livingston Dell"

"Elliott Gould - Reuben Tishkoff"

"Mmm. Wouldn't you guys love me in this?" [holding up a new jacket in front of her]"

"'Pike' isn't a name. It's a fish."

"Does Elvis talk to you?"

"What are you doing here? This is a naked place! [when Merrick approaches her in the girls' locker room]"

"All I wanna do is graduate from high school, go to Europe, marry Christian Slater, and die. Now, that may not sound too exciting to a scone-head like you, but I think it's swell. And then you come along and, and tell me I'm a member of the hairy mole club so you can throw things at me? I don't THINK so!""

"I just think it sounds cool, you know? Buyer, buying, to buy... [about her future career as a 'Buyer']"

"Great. My secret weapon is PMS."

"Merrick — you made a joke! Are you okay? I mean, do you wanna lie down? I know it hurts the first time."

"Three weeks ago, all I thought about was... well, I didn't actually think about anything.""

"I'm the Chosen One, and I choose to be shopping."

""Why? Because it isn't in the Book of all Knowledgefulness that I'm going to be cheering at the Riverview game tomorrow? Lighten up, Merrick"."

"You do everything wrong! [Buffy begins to apologize] No....Do it wrong."

"There's a small village in Hampshire, near Stonehenge..." [notices Buffy's blank look] Near a bunch of big rocks. That's where I was born."

"All this is a show. And when the music stops, the rest is silence."

"I'm leaving, man, I'm bailing town. This place has gotten way too hairy."

"I think I'll just hang out here. Make sure the sun comes up and everything."

"I don't believe this! The world is under attack by legions of the undead, and you're going to a mixer?!?"

"You know, Benny was right? You're all the same. I'm not disappointed, I'm just angry!""

"Are YOU addressing I?"

"[Buffy is lying on top of him after a large leap] What am I supposed to do, run? These guys are everywhere, and I wanna do some damage. I'm good with damage."

"[sees Amilyn and Lothos with Buffy] "I know that guy. That is a bad guy. Can we go now? {when Buffy approaches Lothos] "Does anybody here but me have a problem with this?""

"I crashed your party [Buffy responds, "How shallow."] Yeah well, I'm pretty shallow. Would I get my ass kicked if I asked you to dance?"

"You must forgive Amilyn. He tends to drool before supper."

"We can't be stopped. This is our world now."

"What are we? We are man, perfected. We exist to consume."

"Twelve hundred years old, and you behave like a child! Honestly, I don't know how you made it through the Crusades."

"Wanna go for a ride?"

"You ruined my new jacket!" [to henchmen] "Kill him a LOT!" [after his left arm has been torn off]"

"Admit it, Buffy. Don't you sometimes feel... less than fresh?"

"(When Amilyn has one Arm) "We're immortal. We can do anything."

"Buffy: "Oh yeah? Clap."

"Get out of my facial!"

""Buffy, what's your sitch? You're acting like the Thing from Another Tax Bracket"."

"[interview after vampire attack]: They had fangs. They were biting people. They had this look in their eyes — totally cold. Animal. I think they were Young Republicans."

"Don't think of me as Gary Murray, administrator. Think of me as Gary Murray — party guy."

"I have detention slips here, and I'm not afraid to use them! [to horde of vampires attacking the school gym]"

"[after Lothos appears] "That is definitely not a student."

"[dead vampires, with stakes sticking out of their hearts, litter the gym] "Detention, detention, detention...detention, detention, detention. I think that's all of them; no, wait, detention, detention, detention." [drops detention slips on the bodies]"

"[During the credits] Well, I think the kids learn a lesson about safety, except the dead ones. Well, they learned it, but didn't have time to implement it. Are we live?"

"Now, what do we say on the court? Repeat after me: 'I am a person. I have a right to the ball'."

"Hey, you missed practice again today. I think you better sit down and think about how that made me feel."

"Assert your person-hood! Actualize! Actualize!"

"Benny: Her yabbos scoff at gravity."

"Biker:Hey, babe, you wanna get some real power between your legs?"

"Benny:Come on, Pike! Join me! Live forever! We can start a band!"

"Pert. Wholesome. Way Lethal."

"Sometimes it takes more than just good looks to kill."

"She knows a sucker when she sees one."

"Homework. Cheerleading practice. Killing vampires. No one said high school would be easy."

"Kristy Swanson - Buffy"

"Donald Sutherland - Merrick Jamison-Smythe"

"Rutger Hauer - Lothos"

"Luke Perry - Oliver Pike"

"Paul Reubens - Amilyn"

"Hilary Swank - Kimberley Hannah"

"Stephen Root - Gary Murray"

"Mark DeCarlo - Coach"

"David Arquette - Benny Jacks"

"James Earl Jones - Narrator"

"Kit, you're right. We live in separate worlds apart. Your world is the right one...I may have taken the wrong path, but I am willing to make things right again, even if it's not too late."

"Kid, don't point the gun at my head! If you have the guts, shoot me dead! Shoot me...shoot me!"

"That's enough!!! I don't need your pity!!...You don't owe me anything! I would never force my own friends to do something they wouldn't do! I have my own principles! I just don't want to live like this anymore!!...Do you think I like to beg!?...I've been in bad shape for three years, waiting for this opportunity! This is my only chance, not to prove that I'm the best, but to simply take back what I have lost!!!...Look at yourself. Look at what you've become!!...Back then, people rejected you! Now, you can't even take two steps without someone following you!!! Have you ever fought for a chance? You never have. Never!!!...I don't want to be like you..."

"Father was killed because of him! Why should you force me to accept him now!? He has no one to blame but himself!! I'm a cop, he's a criminal...in the eyes of the law, we are traveling on separate paths..."

"The movie that began it all........."

"Brothers by blood. Enemies by chance. Killers by nature."

"Ti Lung - Sung Tse-Ho"

"Leslie Cheung - Sung Tse-Kit"

"Chow Yun-fat - Mark Lee"

"Emily Chu - Jackie, the girlfriend of Kit"

"Waise Lee - Shing"

"Shing Fui-On - Shing's right-hand man"

"Kenneth Tsang - Ken, the leader of the taxi company Ho joins"

"Tien Feng - the father of Ho and Kit"

"John Woo - Taiwanese police chief"

"Tsui Hark - a music judge (cameo)"

"Alright man, you win, is that what you want to hear you win. (Nick starts slapping himself) What the fuck? Hey man, you ain't one of them desert slashers, are you? Cut a person's body up and leave it out in the desert in little tiny pieces and shit, huh? Oh, shit! We are in the fuckin' desert! I'm in the car with a psycho freaky Jason hack-killer motherfucker! Please don't kill me, freaky Jason. I said, please don't kill me, freaky Jason! (Nick just looks at him) I done fucked around and caught a ride with the wrong white boy!"

"Martin Lawrence as Terrance Paul Davidson"

"Tim Robbins as Nick Beam"

"John C. McGinley as Davis "Rig" Lanlow"

"Giancarlo Esposito as Charlie Dunt"

"Kelly Preston as Ann Beam"

"Michael McKean as Phillip "P.B." Barrow"

"Rebecca Gayheart as Danielle"

"Oh, my best hat..."

"He's here for me. Stay here."

"That's impossible. But maybe I can turn your skill to my advantage."

"Burn in your golden HELL."

"Gemma, where are you hiding? When I die, I'll take you to Hell with me."

"If you so want the company of devils, you'd better hurry back to hell, Gemma."

"FOOL! My body is saturated with poison! It's so strong that even the touch of my lips will kill instantly. No one can touch me, anyone who dares to... Dies."

"You've no idea... You couldn't possibly understand!"

"I am Utsutsu Mujuro. I have longed to challenge you."

"You lured me in here because I am blind. Is that your plan?"

"If you want to kill me you mustn't make any sound at all."

"Your sight is a weakness!"

"Aha! So you beat me. I thought I would stop your mouth in Edo, but I don't think I'd get the chance, seeing as how you so love risking your life. Everything ends exactly as I have written it."

"To understand people's minds and control them is the secret of the ninja strategy. But only true sympathy can move the human heart. A pompous old ninja like me can't hope to do it."

"So did you make love to the ninja girl?"

"(to Yurimaru after he turns down her advances) Oh, so what I've heard is true? Hmm. Have many pleasant dreams in Lord Gemma's arms...but Gemma makes love to both men and women. Did you know that he regularly has Benisato? ...Oh so you didn't. (Laughs wildly)"

"Yurimaru, it seems as though Benisato has been killed. Good for you."

"(After killing Yurimaru and picking up his severed hand) It looks as though Yurimaru carelessly stepped into my trap, and unfortunate accident but his own fault.... Now he's the queen of the devils!"

"(After supposedly blowing up Jubei and Kagero) His body is blown to bits and grilled well done, such a succulent smell... of success!"

"Jubei: (While Tessai is raping Kagero)Do me a favour, you see I'm lost and I need to find the quickest way from here to Kikio, I'm really sorry to bother you but the highway was closed."

"Jubei: (After Tessai viciously attacks him) Oh, hi. I know the way now, so leave me alone all right!"

"Tessai: Not quite the right direction. The way to hell is, right here!"

"Jubei: (to Kagero) Is it true then that you kill whichever man sleeps with you, by poisoning him?"

"Kagero: (in response) You'll know if you sleep with me."

"The legend of Jubei, the Shogun of the Dark and the 8 Devils of Kimon."

"Amazing! Sexy! Mysterious! Ninjutsu Wars"

"The man who must fight to live! A woman who doesn't wish to live!"

"An invincible HERO has arrived!"

"Feudal Japan... a time of danger, intrigue & deception"

"The ultimate in sword-fighting movies"

"Ninja Scroll at IMDb."

"Listen lady, I only speak two languages: English and bad English."

"My dear Aknot, what about those two little planes you borrowed? [sees Aknot's human face] Aknot, is that you? What an ugly face. It doesn't suit you. Take it off. [Aknot's face transforms into a Mangalore's] Much better. Never be ashamed of who you are. You're warriors, be proud. So what if the Federal Government scattered your people into the wind? What doesn't kill you makes you stronger. Your time for revenge is at hand. Voila! The ZF-1. [activates a ZF-1 and holds it] It's light; handle's adjustable for easy carrying; good for righties and lefties; breaks down into four parts; undetectable by X-ray; ideal for quick discreet interventions. A word on firepower. Titanium recharger; 3000-round clip with bursts of 3 to 300. And with the replay button, another Zorg invention, it's even easier. [lights reveal a mannequin in police gear] One shot... [shoots mannequin]...and replay sends every following shot to the same location. [turns around, shooting in the direction of the Mangalores; bullets curve their trajectory and hit the mannequin instead] And to finish the job, all the Zorg oldies-but-goldies. [fires every weapon at the mannequin as he mentions them] Rocket launcher... arrow launcher, with exploding or poisonous gas heads, very practical... our famous net launcher... the always-efficient flamethrower, my favorite... [winks to the Mangalores] and for the grand finale, the all-new 'Ice-cube System'! [fires a cloud of liquid nitrogen which freezes the remains of the mannequin. Mangalores applaud politely by carnage and were very impressed]"

"You humans act so strange. Everything you create is used to destroy."

"Bruce Willis - Korben Dallas"

"Gary Oldman - Jean-Baptiste Emanuel Zorg"

"Chris Tucker - Ruby Rhod"

"Milla Jovovich - Leeloo"

"Ian Holm - Father Vito Cornelius"

"Tommy 'Tiny' Lister - President Lindberg"

"Brion James - General Munro"

"[to Babe] You're weak. Your father was weak in his way. Your brother in his, now you in yours. You are all so predictable."

"Peter Janeway: [to Babe, explaining about the Division] Everything we do cuts both ways!"

"Professor Biesenthal: Well, you four have the dubious honor of having been picked from over two hundred applicants for this seminar. Well, let me just say this. There's a shortage of natural resources. There's a shortage of breathable air, there's even a shortage of adequate claret. But there is no shortage of historians. We grind you out like link sausages. That's called progress. Manufacturing doctorates is called progress. Well, I say, "Let us hush this cry of progress until ten thousand years have passed." That's a quote. Who said that? Come on, who said that? Well, somebody must know the answer [none of the students answer] Tennyson! Alfred, Lord Tennyson. My God, but you can't compete on a doctoral level and not know "Locksley Hall" and "Locksley Hall 60 Years Later"! I hope you all flunk. Dismissed."

"A thriller."

"One man's dangerous attempt to clear his father's name."

"Dustin Hoffman - Thomas Babington "Babe" Levy"

"Lord Laurence Olivier - Dr. Christian Szell"

"Roy Scheider - Henry David "Doc" Levy"

"William Devane - Peter Janeway"

"Marthe Keller - Elsa Opel"

"Tito Goya - Melendez"

"You're just a scared little girl playing dress-up."

"CATch Her In IMAX"

"Halle Berry - Patience Phillips/Catwoman"

"Benjamin Bratt - Tom Lone"

"Sharon Stone - Laurel Hedare"

"Lambert Wilson - George Hedare"

"When it comes to the safety of these people, there's me and then there's God, understand?"

"[trying to revive Lindsey] Goddamn, you bitch, you never backed down from anything in your life! Now, fight! Fight! Fight! Right now! Do it! ( inhales ) Fight!"

"Keep your pantyhose on."

"When you're hanging on by your fingernails, you don't go waving your arms around."

"[typing] FEELS WEIRD. YOU SHOULD TRY THIS."

"[typing] LOVE YOU WIFE"

"This here's the bottomless pit, baby. Two and a half miles, straight down."

"Triple-time sounded like a lot of money, Bud. It ain't."

"[to Hippy] See this? [puts up fist] They used to call this 'The Hammer'."

"Huh. Damn rat's breathing that shit. That is no bullshit, hands down, the goddamnedest thing I ever saw."

"There was a time that I would've asked why"

"[about the Navy SEALS] These guys are about as much fun as a tax audit."

"So raise your hand if you think that was a Russian water-tentacle."

"We all see what we want to see. Coffey looks and he sees Russians. He sees hate and fear. You have to look with better eyes than that."

"It's not easy being a cast-iron bitch. It takes discipline, years of training... A lot of people don't appreciate that."

"Schoenick, your Lieutenant is about to make a real bad career move."

"I know how alone you feel... alone in all that cold blackness... but I'm there in the dark with you. Oh, Bud you're not alone. You remember that time, you were pretty drunk, you probably don't remember... but the power went out at the old apartment, the one on Orange Street... and we were staring at that one little candle, and I said something really dumb like that candle is me, like every one of us is out there alone in the dark in this life... and you just lit up another candle and put it beside mine and said "No, see? That's me. That's me..." And we stared at the two candles, and then we... well, if you remember any of it, I'm sure you remember the next part. Bud, there are two candles in the dark. I'm with you. I'll always be with you, Bud, I promise that."

"Virgil, you wiener."

"[after Cab 3 has landed in the water] Touchdown, and the crowd goes wild."

"Heeeeeeeeeeere's M.I.R.V.!"

"I got to tell you, I give this whole thing a sphincter-factor of about 9.5."

"We don't need them. We can't trust them. We may have to take steps. We're gonna have to take steps."

"It went straight for the warhead, and they think it's cute."

"Everybody just stay calm. The situation is under control."

"Sniff something? Well did ya, rat boy?"

"USS Montana Captain: 60 knots, no wave lines; the Reds don't have anything that fast."

"Bendix: Oh no, look who's with them. It's Queen Bitch of the Universe."

"A place on earth more awesome than anywhere in space."

"There's everything you've ever known about adventure, and then there's The Abyss."

"Deep below the blue surface, there lies a place no one has ever dreamed of."

"Ed Harris - Virgil "Bud" Brigman"

"Mary Elizabeth Mastrantonio - Lindsey Brigman"

"Leo Burmester - Catfish de Vries"

"Todd Graff - Alan "Hippy" Carnes"

"John Bedford Lloyd - Jammer Willis"

"J.C. Quinn - Arliss "Sonny" Dawson"

"Kimberly Scott - Lisa "One Night" Standing"

"Captain Kidd Brewer Jr. - Lew Finler"

"Adam Nelson - Ensign Monk (SEAL)"

"Michael Biehn - Lt. Coffey (SEAL)"

"[first lines] My name is Alice. I worked for the Umbrella Corporation, the largest and most powerful commercial entity in the world. I was head of security at a secret high tech facility called The Hive, a giant underground laboratory developing experimental viral weaponry. But there was an incident, a virus escaped and everybody died. Trouble was... they didn’t stay dead. The T-virus reanimated their bodies. But I survived. Myself and one other, an environmentalist named Matt, when we emerged we were seized by Umbrella scientists. Matt and I were separated. We thought we had survived the horror, but we were wrong."

"[to bitten Olivera] Today is your lucky day."

"[during a zombie breakout at the Police Station] I'm leaving town, I suggest you do the same."

"[meeting Alice for the first time] Who the fuck are you?"

"[L.J is handcuffed on a chair next to another zombiefied woman in the police station, the woman tries to struggle out of her handcuffs to get L.J] Somebody get this ugly bitch off me!"

"[seeing a zombie on road while driving] GTA, Motherfucker! [L.J. drives on, the zombie is sent flying by the car and hit the roof with a thud] Yeah! 10 points."

"[As the S.T.A.R.S squad prepares to take down Nemesis] You motherfuckers are crazy! Look at that big motherfucker, got a rocket launcher!"

"[L.J runs into the S.T.A.R.S. members' hideout and find a dozen guns pointing at him] Shit! Maybe I was safer outside."

"[When a S.T.A.R.S. officer hands him a shotgun] Motherfucker, please. [opens his jacket to reveal his two golden Desert Eagles] My shit is custom."

"[runs in after Alice pointing a gun at Carlos] Don't shoot, don't shoot! He's cool. He made a deal with Dr.Doom same as you."

"[L.J stands alone after Nemesis kill the S.T.A.R.S. members, Nemesis stop shooting and looks at him] Respect!."

"[L.J. learns that Carlos has been bitten] You should've told me you were bit motherfucker, I'm hangin' witchu and shit!"

"[Cain asks L.J. who he thinks is a helicopter pilot why they haven't taken off yet] Because I usually drive a Cadilac! [punches out Cain and smiles]"

"Dr. Isaacs: Project Alice Activated."

"Major Cain: Finish Him!"

"Nemesis: S.T.A.R.S..."

"Carlos Olivera: We're assets, Nicholai. Expendible assets... and we've just been expended."

"Angela Ashford: They said I would never get better, just worse."

"[Nemesis encounters Alice for the first time] Major Cain: [to Umbrella staffs] Gentlemen, this is the moment we've been waiting for. The nemesis program is now fully activated."

"Major Cain: You're not mutation, you're evolution!"

"Nicholai Ginovaef after killing a Zombie Dog: Stay."

"Carlos Olivera after killing an Umbrella Guard behind Alice: You missed one."

"Yuri Loginova: Bite this!! [Throws a grenade killing a group of zombies]"

"I'm good, but I'm not that good."

"My name is Alice and I remember everything."

"Our lives are in their hands."

"The evil continues..."

"The infection is spreading faster than anyone could have anticipated."

"You're all going to die."

"I'm not on the menu."

"I don't remember the truth!"

"Get out get out you CAN'T be in here"

"You're all going to die down here."

"The T-virus is protean, changing from liquid to airborne to blood transmission, depending on its environment. It is almost impossible to kill."

"I've been a bad, bad girl..."

"A secret experiment. A deadly virus. A fatal mistake."

"Death is not the end... just pray so."

"Survive the Horror."

"One man is born a hero, his brother a coward. Babies starve, politicians grow fat. Holy men are martyred, and junkies grow legion. Why? Why why why why why why? Luck! Blind, stupid, simple, doo-dah, clueless luck!"

"[After flipping his coin to decide whether to kill someone] Ah, fortune smiles. Another day of wine and roses, or in your case, beer and pizza!"

"The Bat's stubborn refusal to expire...IS DRIVING US INSANE!!"

"WHY CAN'T YOU JUST DIE?!"

"[After Robin saves him so he can be imprisoned] Oh, good boy. Good boy. The Bat has taught you very well to be noble. [pulls out a hidden gun and points it at Robin's face] Stupid, but noble."

"[before falling to his death] Yes, of course you're right, Bruce. Emotions are always the enemy of true justice...thank you...you've always been a good friend."

"[sees Bruce Wayne entering from cubicle] Oh my God, it's him! [to himself] I am a winner. I am a winner. I am a winner. I am a winner. I am a winner."

"[after knocking out Stickley with a kettle] Caffeine'll KILL YA!"

"I simply love what you've done with the place. Heavy Metal meets House and Garden. [laughs] Beautiful! [Takes one of his boxes and puts it on the dark side of the room] It's so dark and gothic and disgustingly decadent [Gestures Spice over with a snarl, then takes a box to the light side]... yet so bright and chipper and conservative! [Urges Sugar over with a whistle] [Back to the dark side; speaking sinisterly] It's so you... [to the light side, speaking operatic] And yet so you! Very few people are both a summer and a winter, but... you pull it off quite nicely."

"Has anybody ever told you you have a SERIOUS IMPULSE CONTROL PROBLEM?!?!"

"This is your brain on the Box. This is my brain on the Box! DOES ANYBODY ELSE FEEL LIKE A FRIED EGG?!"

"Riddle me this. Riddle me that. Who's afraid of the big black bat?"

"Somebody tell the fat lady she's on in five!"

"[Two-Face is about to finish off Bruce Wayne] NO!! Don't kill him. If you kill him...he won't learn nothing."

"Your entrance was good; his was better. The difference? Showmanship!"

"Now...the real game begins!"

"[kicks Two-Face] That was for my mother! [hits Two-Face again] My father! [punches Two-Face] My brother! And this is for me! [headbutts Two-Face]"

"Broken wings mend in time. One day, Robin will fly again."

"[discussing Dick with Bruce] Young men with a mind for revenge need little encouragement. They need guidance. You, above all, should know the consequences of the life you choose."

"Newscaster: In local news, Edward Nygma's 3D Box has become the rage of Gotham. Rioting occurred last night at electronic stores which were sold out. There is hardly a home without the NygmaTech Box. Critics have claimed the Box turns Gothamites into zombies, but Edward Ngyma just shrugs: "That's what they said when TV was invented.""

"Courage now, truth always..."

"[from TV spot] The criminal in question. His accomplice in crime. A woman in danger. A partner in training. A hero in black."

"[from TV spot] In a city where evil is everywhere, justice wears a mask."

"Val Kilmer — Batman/Bruce Wayne"

"Jim Carrey — The Riddler/Edward Nygma"

"Tommy Lee Jones — Harvey Two-Face/Harvey Dent"

"Nicole Kidman — Dr. Chase Meridian"

"Chris O'Donnell — Robin/Dick Grayson"

"Michael Gough — Alfred Pennyworth"

"Pat Hingle as Commissioner Gordon"

"I also had to go around the world, because no one wanted another Batman movie. So I has to meet with all these distributors in Asia, I also a lot of the toys and merchandise had been returned, it was a loss or something on that. I had to go to toy fairs and toy conventions in Las Vegas, and I had to get up in front of all these people who didn't want it and talk about how great this is going to be. I believed in it, I really did…"

"We had plenty of money to do what we wanted and we had wonderful people working on it. I thought the chemistry between Val and Nicole was great, and I thought Jim was just brilliant as Riddler. And Tommy Lee Jones, of course all you had to do was turn on the camera and you're going to get a great performance. It was fun, it was so much fun and not a lot of expectation because of what had happened before and so many people didn't want it. But the toy manufacturers, they were so great to me, they climbed on board. And then the head of Walmart came into the editing room with his entourage. They were dead serious. I showed them some cut-together scenes and some with Jim being hilarious, but they did not respond to anything. They just looked. And I thought, "Well we didn't make that sale", but they went to Bob Daly's office and ordered like $75 million worth of merchandise or something."

"It was the biggest movie of the year and the cheapest "Batman" ever made. It cost under $100 million, with Val [Kilmer], Nicole [Kidman], even Jim [Carrey] was still coming up. Batman Forever was total passion. My bosses let me change Batman. Jim was inspired as the Riddler. Tom Lee Jones played Harvey Two Face. Drew Barrymore is in it. Debi Mazar plays a bad girl. It has a great cast and everyone did a great job. It was fun to create a "Batman" movie."

"It was at a restaurant and the maître d' said, 'Oh, I hear you're working with Tommy Lee Jones. He's over in the corner having dinner'. I went over and I said, 'Hey Tommy, how are you doing?' and the blood just drained from his face. And he got up shaking — he must have been in mid kill me fantasy or something like that. And he went to hug me and he said, 'I hate you. I really don't like you'. And I said, 'What's the problem?' and pulled up a chair, which probably wasn't smart. And he said, 'I cannot sanction your buffoonery'."

"He might have been uncomfortable doing that work, too. That's not really his style of stuff."

"We have things those machines will never have. Instincts, feelings... moral judgement."

"Sir, you always taught me to never leave a wingman behind!"

"Just say you love me you pussy."

"Well you boys will have to excuse me, I have to go pee-pee."

"Now I bow down to the superiority of the opposite sex in many respects. But from time to time, I believe they should bow down to me."

"Everything's so different down here you know, as opposed to being up there. Everything on the ground seems so small and passes by so fast."

"What am I suppose to tell the weeping mothers that we could've gotten the job done without sacrificing their sons and daughters, but we decided not to?"

"You wanted to be on the cutting edge? Well this is it! Now you will fly with EDI or the next thing you drive just might have a propeller. It's your choice - make it now."

"(last words before committing suicide) Would you mind just giving me a couple minutes alone?"

"You don't understand! You can't put limits on learning! Learn this, but don't learn that! EDI can learn from Adolf Hitler or Captain Kangaroo! Its all the same to him!"

"Now EDI will prosecute caviar sweep . Do not try to stop me."

"The chances of survival in single combat are less than nine percent. Talon 1, we must fight as a team."

"Fear The Sky"

"Josh Lucas - Lt. Ben Gannon (BIG)"

"Jessica Biel - Lt. Kara Wade (GUNS)"

"Jamie Foxx - Lt. Henry Purcell (E-Z)"

"Sam Shepard - Captain George Cummings"

"Josh Morton - Captain Dick Marshfield"

"Richard Roxburgh - Dr. Keith Orbit"

"Ian Bliss - Lieutenant Aaron Shaftsbury"

"Ebon Moss-Bachrach as Tim"

"David Andrews - Ray"

"Wentworth Miller - EDI"

"Nicolas Hammond - Executive officer"

"[about to throw out the almanac] The Skyway's jammed. It's gonna take us forever to get there. And this stays here. I didn't invent the time machine to win at gambling; I invented the time machine to travel through time."

"My only regret is that I'll never get a chance to visit my favorite historical era, the Old West. But time-traveling is just too dangerous. Better that I devote myself to study the other great mystery of the universe: Women."

"[about Biff having gone back to November 12, 1955] Unbelievable that Old Biff could've chosen that particular date. It could mean that that point in time inherently contains some sort of cosmic significance. Almost as if it were the temporal junction point of the entire space-time continuum. On the other hand, it would just be an amazing coincidence."

"Getting back was only the beginning."

"Synchronize your watches. The future's coming back…"

"Roads? Where we're going, we don't need roads!"

"This time Marty McFly doesn't know if he's coming or going...and his future is really up in the air."

"Welcome Back Marty McFly. He's smart. He's handsome. He's got a great future behind him."

"Michael J. Fox — Marty McFly/Marty McFly Jr./Marlene McFly"

"Christopher Lloyd — Dr. Emmett Brown"

"Thomas F. Wilson — Biff Tannen/Griff Tannen"

"Lea Thompson — Lorraine Baines-McFly-Tannen"

"Jeffrey Weissman — George McFly"

"James Tolkan — Mr. Strickland"

"Elisabeth Shue — Jennifer Parker-McFly"

"Billy Zane — Match"

"Charles Fleischer — Terry"

"Flea — Needles"

"Once the film came out and was this huge success, the studio very quickly said, "We must have a sequel!" But because the second one was such a long script, and they couldn't find any way to shorten it, they decided to make it as two films. I'm surprised the second one wasn't marketed as "part two of three". A lot of people found it less rewarding because it didn't have the fun and lightness of the first one, but then the third one makes sense of the second – it all connects up. I think the first film resonates so well with audiences because of the element of wish-fulfilment at its heart. We've all said to ourselves, "I wish I could go back in time and change something" or, "If only I could do that over again"."

"[holding baby William] So you're my great-grandfather. The first McFly born in America. And you peed on me."

"They saved the best trip for last... but this time... they had gone too far."

"See you in the summer! You mean Summer 1990."

"Meet Marty. He's the kid who gets back... 100 years earlier."

"When the heck are they? In the summer!"

"Doc is dead... again. But this time... they broke the time barrier and destroyed the time machine."

"The rip-roarin' conclusion to the greatest adventure of all time."

"It's the last round-up... the final showdown... the rootin' tootin' conclusion to the greatest adventure of all time."

"Michael J. Fox — Marty McFly/Seamus McFly"

"Christopher Lloyd — Dr. Emmett Brown"

"Thomas F. Wilson — Buford 'Mad Dog' Tannen/Biff Tannen"

"Mary Steenburgen — Clara Clayton"

"Lea Thompson — Maggie McFly/Lorraine McFly"

"Elisabeth Shue — Jennifer Parker"

"James Tolkan — Chief Marshal James Strickland"

"Dub Taylor — Saloon Old-Timer #1 (Levi)"

"Harry Carey Jr. — Saloon Old-Timer #2 (Zeke)"

"Pat Buttram — Saloon Old-Timer #3 (Jeb)"

"ZZ Top — Festival Band in 1885 Hill Valley"

"I feel the need, the need for speed."

"Up there with the best of the best."

"Great balls of fire!"

"Tom Cruise - LT Pete 'Maverick' Mitchell"

"Anthony Edwards - LTJG Nick 'Goose' Bradshaw"

"Val Kilmer - LT Tom 'Iceman' Kazanski"

"Rick Rossovich - LTJG Ron 'Slider' Kerner"

"James Tolkan - CDR Tom 'Stinger' Jardian"

"Kelly McGillis - Charlotte 'Charlie' Blackwood"

"Meg Ryan - Carol Bradshaw"

"Tom Skerritt - CDR Mike 'Viper' Metcalf"

"Michael Ironside - LCDR Rick 'Jester' Heatherly"

"John Stockwell - Cougar"

"Barry Tubb - Wolfman"

"Tim Robbins - LTJG Sam 'Merlin' Wells"

"Whip Hubley - LT Rick 'Hollywood' Neven"

"[showing Marty some pictures of the woman they're after, provided by Paddy O'Neil] Paddy O'Neill can sleep at night. In fact, he probably enjoys the irony. She's not Irish; she's English."

"Listen! Who are we looking for here, huh? IRA terrorists or some ultra-violent faction of the IRA, fighting the cause their way? Jimmy O'Reardon checked into a hotel with a woman with long red hair. Long red hair! This is who we should be looking for! We find her... we'll find him."

"[to Ryan] Bloody proud of yourself, aren't you? You stuck your nose in where it didn't belong. And now you've killed my baby brother."

"Attention to orders. I have a presentation to make. For service above and beyond the call of duty of a tourist, or even a Marine, we recognize Professor John Patrick Ryan, with the Order of the Purple Target. [he hangs a medal around Jack's neck in the shape of a bulls-eye, with the words "SHOOT ME" on it] And hope that he will duck next time, lest he become part of history, rather than a teacher of it."

"SAS could take out any one of these camps in under two minutes. Kill everybody there and be gone before the echo fades. Are you sure this is the same woman? [Jack has a vacant look on his face] Keep at it, then."

"Not for honor. Not for country. For his wife and child."

"Let the Games Begin."

"Harrison Ford - Jack Ryan"

"Anne Archer - Dr. Caroline Catherine "Cathy" Ryan"

"Patrick Bergin - Kevin O'Donnell"

"Sean Bean - Sean Miller"

"Thora Birch - Sally Ryan"

"James Fox - Lord William Holmes"

"Ellen Geer - Rose"

"Samuel L. Jackson - Lieutenant Commander Robby Jackson"

"Polly Walker - Annette"

"J. E. Freeman - Marty Cantor"

"James Earl Jones - Vice Admiral Jim Greer"

"Richard Harris - Paddy O'Neil"

"Alex Norton - Dennis Cooley"

"Hugh Fraser - Geoffrey Watkins"

"Alun Armstrong - Sgt. Owens"

"David Threlfall - Inspector Robert Highland"

"Imagine someone who hates you with the utmost intensity grabbing a handful of your hair while you're lying prostrate and helpless. Then scraping the dull blade of a rusty knife across you scalp. And let your imagination grasp if you can, Mr. Graham, the effect that a strong, quick jerk on the turf of your hair to release any clinging particles would have on your nervous system."

"[narrating] Spring, 1877. This marks the longest I've stayed in one place since I left the farm at 17. There is so much here I will never understand. I've never been a church going man, and what I've seen on the field of battle has led me to question God's purpose. But there is indeed something spiritual in this place. And though it may forever be obscure to me, I cannot but be aware of its power. I do know that it is here that I've known my first untroubled sleep in many years."

"Colonel Bagley: [to Algren] Just tell me one thing. What is it about your own people that you hate so much?"

"Simon Graham [opening narration]: They say Japan was made by a sword. They say the old gods dipped a coral blade into the ocean, and when they pulled it out four perfect drops fell back into the sea, and those drops became the islands of Japan. I say, Japan was made by a handful of brave men. Warriors, willing to give their lives for what seems to have become a forgotten word: honor."

"Simon Graham [closing narration]: And so the days of the Samurai had ended. Nations, like men, it is sometimes said, have their own destiny. As for the American Captain, no one knows what became of him. Some say that he died of his wounds. Others, that he returned to his own country. But I like to think he may have at last found some small measure of peace, that we all seek, and few of us ever find."

"Tom Cruise - Nathan Algren"

"- Katsumoto"

"- Colonel Bagley"

"- Emperor Meiji"

"- Nobutada"

"- Simon Graham"

"- the Silent Samurai ("Bob")"

"Billy Connolly - Zebulon Gant"

"This is your last chance. You have to go 42 blocks in 7 1/2 minutes."

"[drops boxes of pizza on desk] Pizza time!"

"[speaks to MJ through a dead phone line] I wanna tell you the truth... here it is: I'm Spider-Man. Weird, huh? Now you know why I can't be with you. If my enemies found out about you... if you got hurt, I could never forgive myself. I wish I could tell you how I feel about you."

"[to himself, regarding his life] Am I not supposed to have what I want, what I need? What am I supposed to do?"

"[to himself] She (MJ) can never know how much I love her."

"[end of PlayStation 2 game, closing narration] Mary Jane, the girl next door, the girl I love, and now, the girl waiting for me at the end of the day. Fate handed me amazing powers, and with those powers came a burden of responsibility. Somehow though, having her with me makes that burden lighter. Still, in the end, it's mine to bear. After all, there's still only one... Spider-Man!"

"[pleading with MJ to give him a chance] I let things get in the way before, there was something I thought I had to do... I don't have to!"

"[talking to Doc Ock] Sometimes, to do what's right, we have to be steady, and give up the things we want the most. Even our dreams."

"[Doc Ock throws a heavy bag full of coins at him, Spider-Man catches it by his webbing] Here's your change! [tosses it back at Ock]."

"Well, I'm not."

"Hang on, Mary Jane!"

"[He has unplugged Ock’s experiment, but it keeps sucking in objects] Now what?"

"Dr. Octavius. We have to shut it down."

"[noticing the roof will crush MJ] NOOOOOOOOOOOOOO!!!"

"This is really heavy."

"MJ.... In case we die...."

"Do you love me or not?"

"Hey! Hey! ( loud whistle blowing at once ) I'm talking to you! You got what you needed for your little science project, now, let me go."

"He's not dead. I don't believe you."

"Intelligence is not a privilege. It's a gift. And you use it for the good of mankind."

"If you keep something as complicated as love stored up inside... it's going to make you sick."

"Has anybody lost a large roll of 20-dollar bills in a rubber band? Because we found the rubber band. [Beat] It's a terrible joke."

"The power of the sun.... in the palm of my hand."

"NOOOOOOOOOOOO!!!!!!!"

"The real crime would be to not finish what we started."

"You've stuck your webs into my business for the last time!"

"You have a train to catch."

"Well, that's a risk we're willing to take."

"Let's see you scurry out of this."

"Listen... Listen to me now. Listen to ME now!"

"Unless... the river. Drown it!"

"I'll do it."

"(Last words) I will not die a monster."

"[Sees Doc Ock about to sneak attack Spider-Man] Shame on you! [Hits him with her umbrella, causing him to miss]"

"[After Spider-Man saves her] Have I been wrong about you!"

"[Talking to Peter] I believe there's a hero in all of us that keeps us honest, noble and finally allows us to die with pride. Even though sometimes we have to be steady and give up the things we want the most. Even our dreams."

"Oh, Peter."

"[Speaking to his wife over the phone] Dear, we agreed to put on a wedding, not go into bankruptcy.... Caviar? Who are we inviting, the Czar? Get some cheese and crackers.... some of those little cocktail weenies."

"[Discussing his son's wedding with his wife over the phone] Flowers? How much? If we spend any more on this thing, you can pick the daisies off my grave! Get plastic!"

"Guy named Otto Octavius winds up with eight limbs. [grins] What are the odds?"

"What are you looking for, a raise? Get out!"

"[Looking at Spider-Man's suit] Yes. Spider-Man was a hero. I just couldn't see it. He was a.... [Looks to see that Spider-Man has stolen back the suit] A thief! A criminal! He stole my suit! He's a menace to the entire city! I want that wall-crawling arachnid prosecuted! I want him strung up by his web! [Looks up at the open skylight] I WANT SPIDER-MAN!!!"

"Now this is what a superhero movie should be. "Spider-Man 2" believes in its story in the same way serious comic readers believe, when the adventures on the page express their own dreams and wishes. It's not camp and it's not nostalgia, it's not wall-to-wall visual effects and it's not pickled in angst. It's simply and poignantly a realization that being Spider-Man is a burden that Peter Parker is not entirely willing to bear."

""Spider-Man 2" is the best superhero movie since the modern genre was launched with "Superman" (1978). It succeeds by being true to the insight that allowed Marvel Comics to upturn decades of comic-book tradition: Readers could identify more completely with heroes like themselves than with remote godlike paragons. Peter Parker was an insecure high school student, in grade trouble, inarticulate in love, unready to assume the responsibilities that came with his unexpected superpowers. It wasn't that Spider-Man could swing from skyscrapers that won over his readers; it was that he fretted about personal problems in the thought balloons above his Spidey face mask."

"I was disappointed by the original "Spider-Man" (2002), and surprised to find this film working from the first frame. Sam Raimi, the director of both pictures, this time seems to know exactly what he should do, and never steps wrong in a film that effortlessly combines special effects and a human story, keeping its parallel plots alive and moving. One of the keys to the movie's success must be the contribution of novelist Michael Chabon to the screenplay; Chabon understands in his bones what comic books are, and why. His inspired 2000 novel The Amazing Adventures of Kavalier and Clay chronicles the birth of a 1940s comic book superhero and the young men who created him; he worked on the screen story that fed into Alvin Sargent's screenplay."

"The current status quo in the genre makes the absurdist, irreverent tone of 2004’s Spider-Man 2 seem all the more astonishing today. Most humor in the film draws on Peter Parker’s permanent status as a nerd – an awkward, nebbish presence outside of the famous costume. A naive man-child, Parker reacts to the series of brutal challenges he faces with a melancholic pout and a half-smile. His response to being repeatedly jostled in the street is an amused, embarrassed chuckle. The total lack of realism in Tobey Maguire’s career-defining performance places Raimi’s trilogy firmly in the realm of fantasy. There is no Actor’s Studio work being done here. Contrasted with more recent comic book fare, the thrill of a big action sequence is now perpetually dampened by an insistent awareness of disastrous consequences as embodied by the brooding of an Oscar winner, a shake of their head and an existential monologue."

"Nowadays, Superhero sequels are, for the most part, aimed at hardcore fans who have the pre-awareness and commitment to follow confused storylines across past, present and future. Fan theories crudely engulf the screen as characters form alliances and separate out as they would in a soap opera. And this is not down to narrative necessity, but to create new thrills that are often as ephemeral as they are nonsensical. In that sense, Spider-Man 2 belongs to a bygone era of franchise blockbusters. But this also comes down to ideology. Perpetually jolly, the film refuses to adopt the de rigueur misanthropy and pessimistic view on humanity articulated by the Ayn Rand-infused opera stylings of Batman V Superman. While Parker and Octopus are portrayed as similar but on different sides of the law, the latter is by no means the ‘dark side’ of the former. There is no sense of true, straightforward evil in the world of Spider-Man 2. Rather, we are presented with misguided, heartbroken and desperate people who have lost all sense of scale and responsibility. The moment when Doc Ock finally comes to his senses is all the more moving precisely because of how badly he has acted previously. That Parker/Spider-Man would give him a chance to act like the kind human being he once knew makes for a heartbreakingly beautiful moment. It exposes the film’s sincere belief in humanity, the spirit of community and forgiveness. It is not because people are weak that Spider-Man must fight crime (see: The Dark Knight), but because he is the single individual given the (super) power to stop those who have strayed too far to be saved by a simple act of kindness. He is here when the empathy of people such as the doomed Uncle Ben of the first film, and the second’s moral arbiter, the lovely Aunt May, fail to bring desperate people to their senses."

"Peter Parker is just in a different place in his life. It's wearing on him, being Spider-Man and not having a life of his own. I always thought it was peculiar to me how this kid couldn't see how he could just have a little balance in his life and things would be a little better for him. But there are complications to that, which I understand. He doesn't want to put his loved ones in danger and also, just being honest with people at first causes him pain. Just being around Aunt May at first is a painful experience because he's constantly wracked with guilt and feelings of responsibility for all the bad things that happened. He faced that situation and it helped their relationship. It helped set him free in their relationship. So I think that stuff is just wearing on him. He wants a life of his own. He wants to have some kind of balance in his life, but he also has these gifts and wants to use them responsibly."

"It was a mixture of practical puppeteered arms, CGI and animation. We had a fantastic team of puppeteers. 15 guys and one woman. And a wonderful choreographer, a guy called Eric Hayden, who essentially designed the movement in a way. The puppeteers and myself worked together very closely over a series of weeks to try develop a vocabulary of movement, a language if you like, so we could do great big things like push a hole through a building, but at the same time do delicate things like taking off a pair of glasses or like lighting a cigar. Even one shot we did, I don't think we ever used it, but one of the tentacles actually came out and wiped away a tear. So we had a really wide range of possibilities. What they did, which I thought was brilliant really, they managed to infuse these lumps of resin and fiberglass and metal and plastic with real life. They gave them character and personality. There's a wonderful moment where Flo, the female tentacle (Yes, Molina has named them), comes in and I say something, I mumble something, and she does this wonderful thing where she just tilts, as if she's cocking an ear because she can't understand what I said. Puppies kind of do that, and I thought it was so brilliant, that kind of detail makes them so completely full of life... That's a great tribute to [the puppeteers]. They were really clever.""

"In my mind, I was working on the story and I knew how I wanted it to end. The story of a life out of balance, first lopsided in one way as he tries to be this responsible young man and then lopsided in another way as he decides the hell with it, I’m living my life, damn anybody else. And then that road leads to such moral decay that he finally has to say to himself I will go back to my lopsided life of being Spider-Man and just down this road of responsibility. Unfortunately it’s like a prison sentence to him. What he doesn’t know is that by the end of the piece, he learns, through Mary Jane Watson that he cannot go down that road alone. And so I found that he found a sense of balance by the end. So it seemed to me, complete, as a complete story. Also the story of some young man who is on the road to responsibility, learns the sacrifices that are necessary to be responsible. I felt that he had learned a lesson, so it seemed complete in a few different ways. I didn’t really think of it as a franchise movie."

"I was thinking about a great issue of Stan Lee’s Spider-Man comic book where he gets the flu. And he, for a time, is really weak. It was so human to me, I thought it was great. This superhero’s got the bug that affects all of us, and just like we all have to go to work when we’re sick and we really don’t know why we’re doing this and how we’re gonna do our job, he had to fight criminals when he had the flu. I thought that was incredibly human, a humanizing thing to have happened to a superhero. It was a combination of that and a desire to put that into the picture so we could identify with him. I thought that was a unique thing that happened in Stan Lee’s comics, But also there was another issue of Stan Lee’s comics that I loved where he decided to throw the suit away. It was issue number 50, perhaps, his life problems had just become too great, so I think what happened was there was a synthesis of those two ideas, along with other elements I was interested in telling in this story. That’s where the genesis of the loss of powers came from."

"Tobey Maguire as Peter Parker / Spider-Man"

"Sarah Michelle Gellar as Mary Jane Watson"

"Alfred Molina as Otto Octavius / Doctor Octopus"

"Rosemary Harris as May Parker"

"J. K. Simmons as J. Jonah Jameson"

"James Franco as Harry Osborn"

"Donna Murphy as Rosalie Octavius"

"Daniel Gillies as John Jameson"

"Aasif Mandvi as Mr. Aziz"

"While you were still learning how to spell your name, I was being trained to conquer galaxies!"

"Crap-lousy ceiling! I thought I told you to get some man-animals in here and fix it."

"A man-animal getting leverage over a Psychlo? That'll be the day."

"[Taking Jonnie to a library] When we attacked your planet, all your soldiers and all their advanced technology could only put up a measly nine-minute fight before they were exterminated, which is why man is an endangered species. Everything you humans knew is here, and you can look at anything you want, because there is nothing that will help you."

"Stupid humans!"

"Never underestimate what a little leverage can do, rat-brain!"

"Attention. This is Terl, your chief of security. Exterminate all man-animals at will, and happy hunting!"

"You have been quite a challenge, rat-brain, and you're going to make a hell of a conversation piece when you're stuffed and hanging on the wall at the academy!"

"I am going to make you as happy as a baby Psychlo on a straight diet of kerbango."

"I'm going to fire all my wives and buy new ones! Maybe pretty ones this time."

"Look at the bright side! You may not be wallowing in luxury on Psychlo, but at least you finally got your gold. [laughs]"

"Battlefield Earth has the feel of a movie made by a precocious 8-year-old with access to too many leftover costumes from Clan of the Cave Bear and Star Trek: The Next Generation."

"The plot depends on the most ludicrous decisions and senseless actions ever made by a thinking race."

"...a picture that will be hailed without controversy as the worst of its kind ever made."

"...like taking a bus trip with someone who has needed a bath for a long time... something historic, a film that for decades to come will be the punch line of jokes about bad movies."

"...breathtakingly awful in concept and execution... trite, befogged and dorky... glowering, humorless, clumsily rendered."

"...an authentic howler of the Big Dumb and Loud school..."

"...the greatest White Zombie-GWAR music video ever ... If filmmaking has ever been less thrilling and more disengaging, I'd like to see it."

"...even by Hollywood's titanic standards, Battlefield Earth stands out as an example of blind hubris and folly ... how could such a movie happen?"

"Prepare for battle"

"Take back the planet"

"Prepare to go Psychlo"

"On May 12, we fight back."

"John Travolta - Terl"

"Barry Pepper - Jonnie Goodboy Tyler"

"Forest Whitaker as Ker"

"Kim Coates - Carlo"

"Sabine Karesenti - Chrissy"

"Richard Tyson - Robert the Fox"

"Kelly Preston - Chirk"

"Michael MacRae - District Manager Zete"

"Shaun Austin-Olsen - Planetship Numph"

"Tim Post - the Assistant Planetship"

"Michael Byrne - Parson staffer"

"Christian Tessier as Mickey"

"Sylvain Landry as Sammy"

"Earl Paskto as the Bartender"

"Noël Burton - the Clinko Learning instructor"

"Once upon a time in China, some believe around the year one double-ought three, head priest of the White Lotus Clan, Pai Mei, was walking down the road – contemplating whatever it is that a man of Pai Mei's nearly infinite powers would contemplate - which is another way of saying "who knows?" - when a Shaolin monk appeared on the road, traveling in the opposite direction. As the monk and the priest crossed paths, Pai Mei, in a practically unfathomable display of generosity, gave the monk the slightest of nods. The nod was not returned.Now, was it the intention of the Shaolin monk to insult Pai Mei? Or did he just fail to see the generous social gesture? The motives of the monk remain unknown. What is known were the consequences.The next morning Pai Mei appeared at the Shaolin Temple and demanded of the Temple's head abbot that he offer Pai Mei his neck to repay the insult. The Abbot at first tried to console Pai Mei, only to find Pai Mei was … inconsolable.So began the massacre of the Shaolin Temple and all sixty of the monks inside at the fists of the White Lotus. And so began the legend of Pai Mei's five-point-palm-exploding-heart technique."

"Is that not the perfect visual image of life and death? A fish flapping on the carpet, and a fish not flapping on the carpet."

"I suppose the traditional way to conclude this is we cross Hanzo swords. Well, it just so happens this hacienda comes with its very own private beach. And this private beach just so happens to look particularly beautiful bathed in moonlight. And there just so happens to be a full moon out tonight. So, swordfighter, if you want to sword fight, that's where I suggest. But if you wanna be old school about it, and you know I'm all about old school, then we can wait till dawn, and slice each other up at sunrise, like a couple of real-life, honest-to-goodness samurais."

"I'm a killer! I'm a murdering bastard, you know that. And there are consequences to breaking the heart of a murdering bastard."

"Looked dead, didn't I? Well, I wasn't, but it wasn't for lack of trying I can tell you that. Actually, Bill's last bullet put me in a coma, a coma I was to lie in for four years. When I woke up, I went on what the movie advertisements referred to as a roaring rampage of revenge. I roared and I rampaged and I got bloody satisfaction. I've killed a hell of a lot of people to get to this point. But I have only one more. The last one, the one I'm driving to right now. The only one left. And when I arrive at my destination, I am gonna kill Bill."

"My Pussy Wagon died on me."

"[lighting up a cigarette after Budd has collapsed from a black mamba bite] I'm sorry, Budd. That was rude of me, wasn't it? Budd, I'd like you to meet my friend, the black mamba. Black mamba, this is Budd. You know, before I picked that little fella up, I looked it up on the internet. Fascinating creature, the black mamba. Listen to this. [reads from a notepad] "In Africa, the saying goes, 'In the bush an elephant can kill you, a leopard can kill you, and a black mamba can kill you. But only with the mamba' — and this is true in Africa since the dawn of time — 'is death sure. Hence its handle: Death Incarnate.'" Pretty cool, huh? "Its neurotoxic venom is one of nature's most effective poisons, acting on the nervous system, causing paralysis. The venom of a black mamba can kill a human in four hours if, say, bitten on the ankle or the thumb. However, a bite to the face or torso can bring death from paralysis within 20 minutes." Now, you should listen to this, 'cause this concerns you. "The amount of venom that can be delivered from a single bite can be gargantuan." You know, I've always liked that word "gargantuan," and I so rarely have an opportunity to use it in a sentence. "If not treated quickly with anti-venom, 10 to 15 milligrams can be fatal to human beings. However, the black mamba can deliver as much as 100 to 400 milligrams of venom from a single bite." [puts out her cigarette and addresses Budd] Now in these last agonizing minutes of life you have left, let me answer the question you asked earlier more thoroughly. Right at this moment, the biggest "R" I feel is Regret. Regret that maybe the greatest warrior I have ever known met her end at the hands of a bushwhackin', scrub, alky piece of shit like you. That woman deserved better."

"[on the phone with Bill] Let me put it this way: if you ever start feeling sentimental, go to Barstow, California. When you get here, walk into a florist and buy a bunch of flowers. Then you take those flowers to Huntington Cemetery on Fuller and Guadalupe, look for the headstone marked Paula Schultz, then lay them on the grave. Because you will be standing at the final resting place of Beatrix Kiddo."

"[last words before she dies, while screaming] F***ING B**CH!!! [screaming] F***ING B**CH!!! [screaming] I'LL KILL YOU!!! YOU'RE F***ING DEAD!!! [screaming] YOU B**CH!!! YOU B**CH!!! [moaning and screaming] I'LL F***ING KILL YOU, YOU B**CH!!! [hissing and screaming] OH, I'LL GET YOU!!! I'M GONNA... [screaming] WHERE ARE YOU?!?! LEMME F***ING KILLL YOU!!! [continues screaming] WHERE ARE YOU?!?! I'M COMING, YOU F***ING B**CH!!! [screaming] YOU'RE F***ING DEAD!!! YOU'RE DEAD!!! [continues screaming and crying] OH...SH*T!!!!!! [screaming]"

"Revenge is a dish best served cold."

"The bride is back for the final cut"

"Kill is love."

"Back with a vengeance."

"The whole thrilling tale is revealed."

"Once again, with an insouciant blaze of energy and style, Tarantino has seen off the imitators, detractors and condescenders. True, the Kill Bill films do not have the dialogue riffs of his earlier work co-scripted with Roger Avary, apart from one small verbal arabesque here about Superman and Clark Kent. But as any screenplay handbook will tell you, writing for motion pictures is not about penning lines of dialogue; it is about fashioning a narrative and constructing an event. Kill Bill just seems to bypass the rational filters which impede the respectable films and attacks the endorphin centres of the brain."

"O: Do you think of Bill as a sympathetic character?"

"Q: There is a lot of introspection, a lot of character development in VOLUME 2. Tarantino has always described Bill as a pimp of death. But there seems to be more to the man."

"The movie is a distillation of the countless grind house kung-fu movies Tarantino has absorbed, and which he loves beyond all reason. Web sites have already enumerated his inspirations—how a sunset came from this, and a sword from that. He isn't copying, but transcending; there's a kind of urgency in the film, as if he's turning up the heat under his memories."

"The movie opens with a long closeup of The Bride (Uma Thurman) behind the wheel of a car, explaining her mission, which is to kill Bill. There is a lot of explaining in the film; Tarantino writes dialogue with quirky details that suggest the obsessions of his people. That's one of the ways he gives his movies a mythical quality; the characters don't talk in mundane everyday dialogue, but in a kind of elevated geekspeak that lovingly burnishes the details of their legends, methods, beliefs and arcane lore."

"The training with Pai Mei, we learn, prepared The Bride to begin her career with Bill ("jetting around the world making vast sums of money and killing for hire"), and is inserted in this movie at a time and place that makes it function like a classic cliffhanger. In setting up this scene, Tarantino once again pauses for colorful dialogue; The Bride is informed by Bill that Pai Mei hates women, whites and Americans, and much of his legend is described. Such speeches function in Tarantino not as long-winded detours, but as a way of setting up characters and situations with dimensions it would be difficult to establish dramatically."

"The fight with Elle Driver is a virtuoso celebration of fight choreography; although we are aware that all is not as it seems in movie action sequences, Thurman and Hannah must have trained long and hard to even seem to do what they do. Their battle takes place inside Budd's trailer home, which is pretty much demolished in the process, and provides a contrast to the elegant nightclub setting of the fight with O-Ren Ishii; it ends in a squishy way that would be unsettling in another kind of movie, but here all the action is so ironically heightened that we may cringe and laugh at the same time."

"Of the original "Kill Bill," I wrote: "The movie is all storytelling and no story. The motivations have no psychological depth or resonance, but are simply plot markers. The characters consist of their characteristics." True, but one of the achievements of "Volume 2" is that the story is filled in, the characters are developed, and they do begin to resonate, especially during the extraordinary final meeting between The Bride and Bill—which consists not of nonstop action but of more hypnotic dialogue and ends in an event that is like a quiet, deadly punch line."

"Q: What side of Elle do we see in VOLUME 2?"

"A: Actually, I do use the word 'gargantuan,' I like the word 'gargantuan,' it's a fun word to say."

"Q: That trailer of Budd's would seem like an unlikely location for a couple of monumental showdowns."

"The Mexican and American Southwest settings and use of material from Ennio Morricone’s scores rep the obvious ways in which “Vol. 2” derives from Sergio Leone, but equally important is the influence of the Italian master in pushing Tarantino to expand what could have been perfunctory scenes into hugely elaborated set-pieces; latter detailing is what gives “Vol. 2” its special charge for film buffs or anyone who keys into what Tarantino is up to."

"All of the director's musical, film and comic-book loves are on display; he gives much play to the grungy martial-arts melodrama Five Fingers of Death, evoking its use of Quincy Jones's Ironside theme and plucking several of its plot devices. As befits that kind of density, there are more entrances, back stories and origins in Vol. 2 than in the first hundred issues of The Amazing Spider-Man, Leone's Man With No Name trilogy and all the Shogun Assassin movies combined. But unlike the 100-meter-high hurdles of Vol. 1, Vol. 2 feels like a cross-country run, with hills and long stretches of flatland, as it settles into its casual, carnage-laden pace. It has the wily, extended cadences of Leone's movies, with the first 15 or so minutes filmed in loamy, luscious black-and-white and set in what could only be called exploitation-picture Texas. (What the master cinematographer Vittorio Storaro does with shadow, the director of photography Robert Richardson does with light, painting even the interiors with warm, bright flares. His harsh but loving glow permeates this adventure and, like Mr. Storaro's, his signature is instantly recognizable.)"

"Vol. 2 works like a multimedia mix tape, and Mr. Tarantino rides the tempo of his films like a D.J., abetted in the wheel-in-a-wheel trickiness by the deft fingers of his editor Sally Menke. When one of the characters in Vol. 2 makes an offhand remark about undisputed truth, Mr. Tarantino's actual forebear is clear: the R&B producer Norman Whitfield. Mr. Whitfield was the link between Detroit slick (Motown) and funk (Parliament/Funkadelic). While adding a few licks of his own, Mr. Tarantino, like Mr. Whitfield, gets goose flesh from the evil that lurks within."

"Maybe it is progress of a sort—moral if not cinematic—that in KB2 Tarantino largely eschews the hyper-violence that characterized its predecessor. But rather than replace it with, say, clever dialogue, imaginative plotting, or meaningful Character development, he's substituted the cinematic equivalent of dead air. He intends this to be a nod to the stately, deliberate style of Leone, but it's unaccompanied by any of the elements that made that style great—the use of landscape (both facial and geological), the musical crescendos (Tarantino borrows some Morricone tunes in KB2, but seems afraid of using them in anything other than a minor key), the rhythmic interaction of lengthy buildup followed by momentary violence. (Quentin prefers lengthy buildup followed by lengthy violence; it's not the same thing.) Leone was by nature a mythologizer; Tarantino is by nature a demythologizer. His killer-heroes are not silent, stoic types. They're video store clerks with guns, babblers on every subject from Madonna to French cheeseburgers."

"The audience has expanded. We have more women this time than we had on Volume 1. There was less violence in this one, and that came out in the publicity and the reviews, which drove more women into the theater. And the movie really stands by itself; you don't have to see Volume 1 to enjoy Volume 2."

"Vol. 2 makes a compelling case for a more serious interpretation of Tarantino’s talent, and the film justifies the otherwise vapid (and very cool) Vol. 1, which should never have existed as a separate film. The commercial logistics of a four-hour movie aside, Kill Bill would have worked best as a single entity, the second half imbuing the first with a certain weight. Indeed, Tarantino’s lip fetish is itself enough to empower Vol. 2 with far more powerful scenes than Vol. 1: when a tied-up Beatrix must wrap her lips around a flashlight, the degrading image is worth more than any moment in the first volume. Here Tarantino employs the same technique as in Reservoir Dogs, where he subtly focused on his characters’ ears before slicing one off in the end. It’s a cruel trick, but a crafty one—and proof that Tarantino plays more than lip service to the art of film."

"Q: Uma, how was it to shoot the coffin scene, as a claustrophobic person myself it seemed very scary to watch?"

"We try to appeal to her maternal instincts, and suggest that the ending, in which Beatrix is reunited with her four-year-old daughter, makes the film a kind of love story, a family romance. Did she like that about it? "Yeah, I think it takes a tremendous turn where the character is thrown back into life, because if that hadn't happened she might as well have given herself a five-point exploding palm and died."

"Uma Thurman doesn’t get nailed to a cross in Kill Bill Vol. 2, but writer-director Quentin Tarantino runs her battered character, called the Bride, through a gauntlet that is gory enough to make Mel Gibson flinch. No matter. You’ll thrill to the action, savor the tasty dialogue and laugh like bloody hell. Tarantino has done more than continue the revenge tale he started in Vol. 1 — the Bride wants payback after being left for dead in her wedding dress by Bill (David Carradine) and four other killers in his Deadly Viper Assassination Squad, of which she was once queen bee. Vol. 2 ties the events of Vol. 1 together, just like The Return of the King did for The Lord of the Rings trilogy. You watch and think, “I get it now.” Tarantino has made the hottest mix tape in the history of cinema. Like a master DJ, he samples every lowdown, B-movie genre that formed him, from kung fu and samurai flicks to anime and spaghetti westerns, then filters it through his imagination to create something totally Tarantino: a blast of pure movie oxygen."

"Uma Thurman – Beatrix Kiddo/The Bride"

"David Carradine – Bill"

"Gordon Liu – Pai Mei"

"Michael Madsen – Budd"

"Daryl Hannah – Elle Driver"

"Peter Weller — Officer Alex J. Murphy/RoboCop"

"Nancy Allen — Officer Anne Lewis"

"Dan O'Herlihy — The Old Man"

"Ronny Cox — Dick Jones"

"Kurtwood Smith — Clarence Boddicker"

"Miguel Ferrer — Bob Morton"

"Robert DoQui — Sergeant Warren Reed"

"Ray Wise — Leon Nash"

"Paul McCrane — Emil Antonowsky"

"Jesse D. Goins — Joe Cox"

"Lee de Broux — Sal"

"Mark Carlton — Ron Miller"

"Gene Wolande — Prisoner"

"S.D. Nemeth — Bixby Snyder"

"Del Zamora — Kaplan"

"Yolanda Williams — Ramirez"

"Edward Edwards - Manson"

"Jon Davison — ED-209 (voice)"

"Part Man. Part Machine. All Cop."

"The future of law enforcement."

"Do you find Jesus in your films? “RoboCop” has a metaphor of Jesus. The reason I did it was because, for me, there were two metaphors. One is really Paradise Lost, which is when he comes to his house. He is already “RoboCop.” He doesn’t know who he is. He goes to his house and gets flashes of something wonderful that was there. His wife and his child, and the love of them. That’s lost paradise. He cannot touch, it but it was there. When I made it, this was important to me. It was the decision moment to me. I see this metaphor of Paradise Lost and standing at the Gates of Eden. The other metaphor, is that there is a resurrection. That is why he gets killed in an even more brutal way, because I felt that was a metaphor of crucifixion. Murphy gets killed and resurrects. He is dead and resurrected with another brain. It is very interesting if you read in the Gospels about Jesus being resurrected. He doesn’t say anything anymore. It is monosyllabic. But he, after resurrection, expresses himself monosyllabic with phrases of five or ten words. If you look at “Robocop,” that’s what he does. If you look at his eyes, you slowly start to see what he sees. Most things he says is, put down your weapon or whatever. At the end of the movie, because I was living in the United States, the metaphor is that he’s walking on water. In the front of the water there are the walls of an abandoned steel factory, where we shot. You can see the walls like the walls of Troy or Jerusalem. I put grit under the water so he could walk on water. To make him into an American Jesus, he turns to the bad guy and says, “I’m not going to arrest you anymore. I’m going to kill you.” That for me was the American Jesus."

"It’s certainly the most challenging role I’ve ever done. To bring that alive, much of it is thanks to Moni Yakim [the head of the Movement Department at Juilliard], Moni Yakim, the writers [Edward Neumeier and Michael Miner], and Paul Verhoeven. That quadrant of people all infused to make that thing, and Rob Bottin, the makeup artist, and Stephan Dupuis, the guy who put on the prosthetics. I dunno, that was just… I knew I was making a good film. When I met Paul Verhoeven in a hotel room in New York, I knew that, because Paul was directing it, it was going to be great. I knew it was going to have something of a moral opera in it and that he was not going to miss the universal morality in this. He was not going to just make an action movie. And it’s a very funny movie and a brilliant sort of social commentary. When I met Verhoeven, I’d seen all his movies, and I just knew he’d be fantastic. And to be feeling the feelings I felt when I met him… I mean, he was intimidating, but I knew that, with his expertise, he’d be executing something non-ephemeral and awakening certain aspects of social morality that’ll last. That movie will be around forever, man."

"I feel good about playing a robot in that I’m playing a human being who has been transformed into a cyborg. Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It’s like Beauty and the Beast, or the Tin Man of The Wizard of Oz. It’s a great little jewel of a human story."

"I worked with a mime for four months. We wanted to take a human being and transform him into a robot, walking in a suit in such a way that was stylized, attractive, yet computerized and the mechanical without being ‘mimelike.’ In essence, we wanted to have some humanity breathe through this robotic thing."

"The guys that shot me are part of the military-industrial complex. These ‘powers that be’ manage the police force and are also behind the cybernetic cop idea. They are also the people who are feeding the drug wars, so they can build more robots and fight the drug wars they themselves created! All these people are guilty-not only the people who shot me, but the people who made me, too. When they realize that Robo has found out the truth about them, they try to kill me."

"RoboCop, a futuristic story about a policeman shot to death and then revived after all parts of his body have been replaced by artificial substitutes, introduces a more tragic note: the hero who finds himself literally "between two deaths"—clinically dead and at the same time provided with a new, mechanical body—starts to remember fragments of his previous, "human" life and thus undergoes a process of resubjectivication, changing gradually back from pure incarnated drive to a being of desire. (...) [I]f there is a phenomenon that fully deserves to be called the "fundamental fantasy of contemporary mass culture," it is this fantasy of the return of the living dead: the fantasy of a person who does not want to stay dead but returns again and again to pose a threat to the living."

"[to an Alien] You are one ugly mother..."

"[while exploring the abandoned whaling station, Miller is startled by a penguin] Careful. They bite."

"[Scar shows Alexa that he is activating the bomb in his wrist panel] It's a bomb. Well, I hope it kills every fucking one of them!"

"[to Charles Bishop Weyland] Alexa Woods: When I lead my team, I don't leave my team."

"This whole thing was a trap."

"[to the Predator] Don't turn your back on me!"

"[shows a 3D image of the pyramid] My experts tell me this is a pyramid."

"[First lines] Technician: Hey. Hey, hey, come here, take a look at this."

"Mark Verheiden: [to the Alien] You want a piece of me, you ugly son of a bitch!"

"Whoever wins... We lose"

"It's our planet... It's their war"

"The Enemy of My Enemy is my Friend"

"Sanaa Lathan - Alexa Woods"

"Raoul Bova - Sebastian de Rosa"

"Lance Henriksen - Charles Bishop Weyland"

"Ewen Bremner - Graeme Miller"

"Colin Salmon - Maxwell Stafford"

"Tommy Flanagan - Mark Verheiden"

"Sam Troughton - Thomas Parks"

"Being such a self-confessed sci-fi geek, was there ever a moment when you had to pinch yourself that you were really in charge of this movie?"

"I don’t even know if Sigourney Weaver has read the “Alien vs Predator” draft I wrote. She’s never said she has. But, I was a fan obsessive of the “Alien” franchise, Sigourney. Big time. Particularly Ridley’s original, which is still unmatched. And “Alien vs Predator” — as a concept — is still killer, full of potential. Even its critically maligned first cinematic outing made $172,544,654 worldwide, compared to $159,814,498 for “Alien 3” and $161,376,068 for “Resurrection”. Hardly a financial “fail” there, Sigourney."

"Yeah. Ridley and I talked about doing another Alien film and I said to 20th Century Fox that I would develop a 5th Alien film. I started working on a story, I was working with another writer and Fox came back to me and said, "We've got this really good script for Alien vs Predator and I got pretty upset. I said, "You do that you're going to kill the validity of the franchise in my mind." Because to me, that was Frankenstein meets Werewolf. It was Universal just taking their assets and starting to play them off against each other."

"Its set-up is mundane: billionaire industrialist Charles Bishop Weyland (Lance Henriksen, a.k.a. Bishop) hires himself a motley crew to go to Antarctica, where they find a perplexing, heat-generating Cambodian-Egyptian-Aztec temple 2000 feet under the ice. Luckily, they've brought along someone who can read the hieroglyphics, Italian archaeologist Sebastian De Rosa (Raoul Bova), who essentially explains the plot, if only his fellow adventurers would listen."

"The heat Weyland's researchers noted results from preparations for the Predators' with each stage allotted its own room, for instance, "sacrificial chamber" (the structure is remarkably elaborate and mobile, with ceilings and walls shifting every 10 minutes, rather like the scary place in Cube [1997])."

"While the film's tagline holds true -- "No matter who wins, we lose" -- the underlying notion here, as it has been in both previous entries in the Predator franchise, is that the hunters are comprehensible. Like gamers, they measure their own prowess and keep track of their kills."

"Scar, so named in the movie's credits for a mark on his face and a ritual he performs with Alexa, recalls Cicatrix, the "Scar" of The Searchers (1956), one of the more complex Native American villains in U.S. movies. In Alien vs. Predator, villains and heroes become simultaneously concrete and abstract: they're functions of the game, the franchise, and the broader commercial and moral marketplace, yes, but they're also vaguely resistant, less transparent than they seem."

"The Predator society builds sophisticated spaceships, yet they should not look as sleek and hi-tech as a Star Wars stormtrooper. They are a tribal culture, yet their look should not be as primitive as the orcs from Lord of the Rings. They are also a warrior culture, so the ornate cannot conflict with the practical."

"Q: Which character is worse: Predator or Alien?"

"Alien vs. Predator is a monster mash between two of 20th Century Fox’s franchise creatures. When H.R. Giger’s sleek and slimy killing machines face off against the Rastafarian headhunter, there’s a giddy childish thrill not unlike when King Kong faced Godzilla, or when Frankenstein met the Wolf Man. Their confrontations play out in the exaggerated manner of professional wrestling and take place in an ancient pyramid buried under the Antarctic ice where you half expect John Carpenter’s monster from The Thing to pop up and waste them both. These beasties frequently strut their extraterrestrial stuff and are geared toward audience cheers and jeers. While you can’t argue for Alien vs. Predator as a movie to be taken seriously, it certainly delivers as a loving homage to two of our favorite monsters and their respective super-duper powers."

"Anderson shows such a lack of interest in character or mood that the first 45 minutes, pre-Alien and Predator battles, feels unnecessarily lugubrious. His film lacks the obsessive haunted house setting of Ridley Scott’s Alien, the virtuoso gung-ho action of James Cameron’s Aliens or John McTiernan’s Predator, the bleak doom of David Fincher Alien³, and the cartoon splashes of Jien-Pierre Jeunet’s Alien: Resurrection. Those movies were of varying levels of quality, but the filmmakers were committed to a singular vision. Alien vs. Predator is a technically proficient fan-boy’s wet dream, made for people who want to see the Alien bleed acid on the Predator’s body armor, or the Predator using his nifty laser to blow apart alien hoards. It’s not much of a movie, but it’s a geek’s paradise."

"When it comes to monster films, horror films, and basically the sci-fi genre, African Americans aren't usually featured in a positive way. For years, we were always the first to die or weren't even featured in the film at all, but lately the trend is changing. In the last few years, the unexpected is happening. In "28 Days Later...", Naomie Harris made it through alive and so did Kelly Rowland in "Freddy Vs. Jason". We don't know what fate holds for Sanaa Lathan in the upcoming "Alien Vs. Predator", but she's considered to be the first black actress to lead a sci-fi film. That itself is a history making achievement. Having received a Tony nomination for her role in "A Raisin in the Sun" and co-starring with Denzel Washington in last year's "Out of Time", one would say that Sanaa has chosen some good projects as of late. In speaking with blackfilm.com, Sanaa talks about her role in "Alien Vs. Predator" and compares the physical work needed for this film to the one needed for her recent work on stage."

"Do you realize that with the exception of Pam Grier, who starred with Ice Cube in "John Carpenter's Ghost of Mars", you are probably the first black female lead in a sci-fi film?"

"When we do get to the Predators and Aliens, the film starts to look pretty promising. The Aliens look great, the Predators look great and, at first, their battles are fun to watch. Unfortunately, over-stylized herky jerky camerawork makes the action very hard to follow. It gives one the feeling of watching a fight with a crowd of large people in front of you. It's like you're always trying to jump up to see over someone's head or look around someone, but you keep missing the action."

"I suppose going into this film, everyone has their favorites. For me, the Alien world has always been a very rich and exciting one. The Predator character is pretty cool, but I mean, really, the first Predator was good, but what do we really know about these dreadlocked ugly mothers? Well, I suppose Paul Anderson either disagreed with me or simply decided this was his chance to expand the Predator world, but the Aliens get the serious shaft here."

"Like last year's Freddy Vs. Jason, Alien Vs. Predator never suggests a reason for existing other than the fact that it can. The logical curlicues used to bring the title beasts together defy description; the plot involves ancient civilizations, an abandoned Antarctic whaling station, and an underground pyramid that changes shape every 10 minutes. Into this lair of subterranean mystery and dimly lit sets marches a ragtag group of scientists and explorers led by overqualified Love & Basketball star Sanaa Lathan and funded by Alienseries vet Lance Henriksen. Soon, they discover they've walked into a death trap, an elaborate human-sacrifice machine designed to create Aliens for a ritualistic Predator hunt. Or something like that."

"Was the film shot entirely in Prague?"

"There's a touching scene near the end of Alien vs Predator when an eight-foot, fang-faced predator, using the acidic blood from the severed finger of an alien face-hugger, tenderly scorches a mark of courage and respect onto the cheek of the last human survivor. She grimaces as her skin burns, and then their eyes meet across the great expanse of space and time that separates both cultures, and then they kiss … or they would have if the queen alien hadn't eviscerated the woman's new friend with the pointy end of her tail. And there ends the almost-birth of a new movie genre, the inter-species romcom."

"AvP owes its genesis more to the video games than to the movies that preceded them, but this actually weighs in its favour in that it is not tied down by the conventions of the originals. (Although, that didn't stop the wonderfully loopy Jean-Pierre Juenet from making the spectacularly bonkers Alien Resurrection, a movie that, having Winona Ryder as a vengeful synthetic lifeform, is responsible for one of the most ill-judged casting decisions of all time.) And so, while I am still plagued by the question of how the aliens, without so much as gulping down a bottle of powdered milk, go from eight inches long to seven feet tall in the space of five minutes, in this context I no longer need to care."

"And then there are two: one woman, one predator, and they do what they have to do. She proves her mettle doing what heavily armed eight-foot invisible predators clearly can't. She kicks alien arse, destroys the queen's eggs, and then they both race hand-in-claw into the night toward the almost-romantic denouement. Then, with her beau-that-will-never-be gone, it's down to the feisty Ripley-replacement to take out the alien queen and source some anti-scarring cream for her permanently disfigured face. He should have just given her a ring."

"[While on a mission with his comrades, Paul takes cover in a shell hole to protect himself from gunfire] I say "You must [get out of this hollow], it is your comrades, it is not an idiotic command," and again: "What does it matter to me, I have only one life to lose—""

"I saw him die. I didn't know what it was like to die before! And then, then I came outside and it felt so good to be alive, that I started in to walk fast. I began to think of the strangest things like bein' out in the fields, things like that. You know — girls. Then it felt as if there were something electric running from the ground up through me. And I started. And I began to run hard and I passed soldiers, and I heard voices calling to me, and I ran and I ran, and I felt as if I couldn't breathe enough air into me. And now I'm hungry."

"Out of 20, three are officers, nine dead, Müller and three others wounded, and one in the mad house. We'll all be dead someday so let's forget it."

"[Paul is trapped in a shell crater with the body of a French soldier who was just mortally wounded.] I want to help you. I want to help you... [the soldier screams] Stop that! Stop it! I can bear the rest of it. I can't listen to that! Why do you take so long dying? You're going to die anyway. Oh, no. Oh, no. You won't die. Oh, no. You won't die. They're only little wounds. You'll get home. You'll be all right. You'll get home long before I will."

"You know I can't run away. That's why you accuse me. I tell you, I didn't want to kill you. I tried to keep you alive. If you jumped in here again, I wouldn't do it. You see, when you jumped in here, you were my enemy — and I was afraid of you. But you're just a man like me, and I killed you. Forgive me, comrade. Say that for me. Say you forgive me! Oh, no. You're dead! Only you're better off than I am. You're through. They can't do any more to you now. Oh, God, why did they do this to us? We only wanted to live, you and I. Why should they send us out to fight each other? If we threw away these rifles and these uniforms, you could be my brother just like Kat and Albert. You'll have to forgive me, comrade. I'll do all I can. I'll write to your parents. I'll write to — I'll write to your wife. I'll write to her. I promise she'll not want for anything. And I'll help her and your parents, too. Only forgive me. Forgive me. Forgive me! Forgive me! [sobbing]"

"Sometime I'm gonna take one of you volunteers apart — find out what makes you leave school and join the army. Hey, this is no parade ground."

"[to new recruits] Now you're gonna see some shell fire, and you're gonna be scared... [a shell explodes nearby and they all duck for cover; one terrified recruit soils his pants] Never mind. It's happened to better men than you. And it's happened to me. When we come back, I'll get you all some nice, clean underwear!"

"That cannon shell you don't have to pay much attention to. Those big fellas just make a lot of noise and land about five miles behind the line. The things we've got to watch out for are them black ones. They don't give you much warning... Mother Earth — press yourselves down upon her! Bury yourselves deep into her! Just keep your eyes on me. When you see me flop, you flop, only try to beat me to it."

"There's 80 of us left. The rest is in dressing stations or pushing up daisies"

"[to Paul on his return] It's gonna be a real war again."

"There used to be some food in the sawdust. Now it's all sawdust. No joke either."

"Replacements are all like that. Not even old enough to carry a pack. All they know how to do is die."

"[of Katczinsky] If he were out, the war would be over. You remember what he always said: 'They're savin' him for the last.'"

"[to class] You are the life of the Fatherland, you boys. You are the iron men of Germany. You are the gay heroes who will repulse the enemy when you are called upon to do so. It is not for me to suggest that any of you should stand up and offer to defend his country. But I wonder if such a thing is going through your heads? I know that in one of the schools, the boys have risen up in the classroom and enlisted in a mass. But, of course, if such a thing should happen here, you would not blame me for a feeling of pride. Perhaps, some will say that you should not be allowed to go yet, that you are too young, that you have homes, mothers, fathers, that you should not be torn away."

"Are your fathers so forgetful of their Fatherland that they would let it perish rather than you? Are your mothers so weak that they cannot send a son to defend the land which gave them birth?! And after all, is a little experience such a bad thing for a boy? Is the honor of wearing a uniform something from which we should run? And if our young ladies glory in those who wear it, is that anything to be ashamed of? I know you have never desired the adulation of heroes. That has not been part of my teaching. We have sought to make ourselves worthy and let acclaim come when it would. But to be foremost in battle is a virtue not to be despised. I believe it will be a quick war, that there will be few losses. But if losses there must be, then let us remember the Latin phrase which must have come to the lips of many a Roman when he stood embattled in a foreign land: Dulce et decorum est pro patria mori. 'Sweet and fitting it is to die for the Fatherland.'"

"Some of you may have ambitions. I know of one young man who has great promise as a writer, and he has written the first act of a tragedy which would be a credit to one of the masters. And he is dreaming, I suppose, of following in the footsteps of Goethe and Schiller, and I hope he will."

"But now our country calls! The Fatherland needs leaders!! Personal ambition must be thrown aside in the one great sacrifice for our country! Here is a glorious beginning to your lives! The fields of honor call you."

"[about Paul] Here is one of the first to go, a lad who sat before me on these very benches who gave up all to serve in the first year of the war. One of the iron youth who have made Germany invincible in the field. Look at him, sturdy and bronze and clear-eyed, the kind of soldier every one of you should envy."

"Lew Ayres — Paul Bäumer"

"Louis Wolheim — Leopold "Kat" Katczinsky"

"Slim Summerville — Tjaden"

"Arnold Lucy — Professor Kantorek"

"John Wray — Himmelstoss"

"Beryl Mercer — Mrs. Bäumer"

"Edwin Maxwell — Mr. Bäumer"

"There will be no rescue, no intervention force. We can only save ourselves. Many of you know influential people abroad, you must call these people. You must tell them what will happen to us... say goodbye. But when you say goodbye, say it as though you are reaching through the phone and holding their hand. Let them know that if they let go of that hand, you will die. We must shame them into sending help."

"[first lines, voiceover] When people ask me, good listeners, why do I hate all the Tutsi, I say, "Read our history." The Tutsi were collaborators for the Belgian colonists, they stole our Hutu land, they whipped us. Now they have come back, these Tutsi rebels. They are cockroaches. They are murderers. Rwanda is our Hutu land. We are the majority. They are a minority of traitors and invaders. We will squash this infestation. We will wipe out the RPF rebels. This is RTLM, Hutu power radio. Stay alert. Watch your neighbours."

"RTLM broadcast: Listen to me good people of Rwanda. Terrible news. Horrible news. Our great president is murdered by the Tutsi cockroaches. They tricked him into signing their phony peace agreement then they shot his plane from the sky. It is time to clear the great brush, good Hutus of Rwanda. We must cut the tall trees. Cut all tall trees down! Let us get to work good Hutus! Find the traitors! Let none escape!"

"Don Cheadle — Paul Rusesabagina"

"Nick Nolte — Colonel Oliver"

"Hakeem Kae-Kazim — George Rutaganda"

"Desmond Dube — Dube"

"Cara Seymour — Pat Archer"

"Joaquin Phoenix — Jack Daglish"

"Would you fuck me? I'd fuck me. I'd fuck me hard. I'd fuck me so hard..."

"To enter the mind of a killer, she must challenge the mind of a madman."

"Prepare yourself for the most exciting, mesmerising and terrifying two hours of your life!"

"When the Fox hears the Rabbit scream he comes a-runnin', but not to help."

"May The Silence Be Broken!!"

"Dr. Hannibal Lecter. Brilliant. Cunning. Psychotic. In his mind lies the clue to a ruthless killer. – Clarice Starling, FBI. Brilliant. Vulnerable. Alone. She must trust him to stop the killer."

"Anthony Hopkins – Dr. Hannibal Lecter"

"Jodie Foster – Clarice Starling"

"Anthony Heald – Dr. Frederick Chilton"

"Kasi Lemmons – Ardelia Mapp"

"Ted Levine – Jame "Buffalo Bill" Gumb"

"Scott Glenn – Jack Crawford"

"Diane Baker – Senator Ruth Martin"

"Brooke Smith – Catherine Martin"

"Danny Darst – Sergeant Tate"

"Stuart Rudin – "Multiple" Miggs"

"The lesbian community is under siege, we always try to present to the heterosexual community the idealized version, but I do not think that's a good way to do it, even though I can understand where it's coming from. ("Valerie Miner talked about the kinds of self-censorship she finds in her work when she starts thinking she should present only positive images of lesbians or working-class people.") Yes. In that poem and also in the poem "Night Voice" I do that. There's this whole controversy now over media images of lesbians and gays and bisexuals. It's brought out in movies like Basic Instinct and Silence of the Lambs where they are presented as killers. It comes up in the novels of P. D. James, where she has these criminals who are lesbians or gay men. And I hate that. But, at the same time, I want the dirty laundry to be out there, whether it's on the Mexican culture or the lesbian culture or the bisexual. And I'm not sure how you do that."

"I thought The Silence of the Lambs was an absolutely brilliant book. The easiest way for me to understand the huge success of the movie starts with what a great book Thomas Harris wrote to begin with. He created those characters for Jodie Foster and Anthony Hopkins and Ted Levine to bring to life. As a filmmaker, I had the delicious job of being the moviegoing audience's representative at the place where the film version was now going to happen. Of course, I had my own ideas about the strengths of the book and how best to visualize them for the screen. Same thing with Beloved. In Beloved, there was zero invention: We didn't have to fix anything in the book, no gaping holes, no problems that had to be solved. The film is very faithful to the book, because we were all so inspired by the book that we simply transferred that inspiration to the screen. Silence Of The Lambs was essentially the same situation, except for the ending. Thomas Harris ended the book in a very meditative, poetic sort of way. This being a movie, we needed something a little bit more galvanizing as a sign-off, so we came up with the phone call and a glimpse of Dr. Lecter following Dr. Chilton off into the Caribbean sunset."

"I thought that in that movie The Elephant Man, that he was the ultimate good doctor, just the greatest doctor of all. So my thinking was, what happens if the greatest doctor of all goes wrong?"

"It’s about one young woman trying desperately to save the life of another young woman. And in order to do that, she’s faced with the overwhelming obstacle of all these men"

"I don't need eyes to see you. I can smell you at a hundred paces."

"Falkon, may I give you a word of advice? Put him over your knee and beat some manners into him."

"[having a hard time climbing the castle wall] Tomorrow I start my diet."

"I'm afraid Your Highness' growth is going to be stunted... permanently!"

"There will be no world!"

"Gedren's Handmaid: She's gone. Oh, I'm so glad that you've come. Please, will you protect me? I'm so frightened."

"Prince Tarn: Why does she fight so hard? She doesn't want to win."

"Heroes of their time. For all time."

"A woman and a warrior that became a legend."

"[A cell phone rings while he is holding a familiar upside-down] Oh, it's you!"

"[To a baby after catching it thrown by Dracula/Drake at the edge of a skyscraper] Cootchie-Coo."

"So the movies are true."

"[To a familiar] Go. You've got twenty seconds. [The familiar runs] Twenty. [Shoots him]"

"[Looking at Hannibal King's sticker, "Hello my name is FUCK YOU" ] Is that supposed to be tactical?"

"[Crashes out a fourth story window and lands smoothly on the ground] Forgot my sword."

"[First lines, voiceover] In the movies, Dracula wears a cape, and some old English guy manages to save the day at the last minute with crosses and holy water. But everybody knows the movies are full of shit. The truth is, it started with Blade, and it ended with him. The rest of us were just along for the ride."

"I picked Danica up in a bar, spent the next five years playing hide-and-go-suck as her little vampire cabana boy. Eventually Abigail found me, Sommerfield managed to treat me with a cure, and now I kill them. And that's basically turning a frown upside down."

"[After watching Blade casually kill a familiar] You know, one of these days, you might want to consider sitting down with someone. You know, have a little share time? Get in touch with your inner child? Also, just a thought, but you just might want to consider blinking once in a while. [Blade stops and slowly turns to look at Hannibal] Sorry. I, uh … I ate a lot of sugar today."

"So, can we just go right ahead and sign you up for one of our secret Nightstalker decoder rings?"

"[Walking down hallway and coming across vampire Pomeranian] Fuck me. [Two vampire rottweilers show up] Fuck me sideways!"

"[Danica lies dying of the Daystar Virus] Hang in there kitten, I'll get help."

"[Last lines, original ending] And Blade? The virus didn't kill him. Because he was a hybrid, his heart never stopped beating. It simply slowed down. And so, he slept, waiting for the moment when he can walk the Earth again."

"[Last lines] And Drake's final gift... Let's just say the FBI got their body... just wasn't the one they were banking on. Blade was still out there somewhere, doing what he did best. He was a weapon. His life was a war. And everybody knows the war never ends."

"FUCKING HANNIBAL KING! I should have ripped his bleeding heart out when I had the chance!"

"There is an old saying: kill one man, you're a murderer. Kill a million, a king. Kill them all, a god."

"[To Blade in his true form] Are you ready to die, "motherfucker"?"

"[Last words] Funny, isn't it? My people were trying to create a new kind of vampire, when one already exists. I don't need to survive. The future of our race rests with you. You fought with honor. I respect that. So, allow me a parting gift. But know this: sooner, or later, the thirst always wins."

"Here's what I'll say about Blade: Trinity. If you watch - and by the way, I'm friends with the writer director, and he agrees with me on this. If you just sit and watch Blade: Trinity, it's a D-minus. It just doesn't work. But if you know what they went through to get that movie made. It is an A-plus. The fact that movie exists puts it above Citizen Kane. The fact that with all the craziness that went down. We were in Vancouver and Wesley Snipes was going crazy and he wouldn't come out of his trailer, and you'd walk by his trailer and this wall of pot stench would just be like "Whoa!" and kinda push you to the side, and then he would only answer to the name 'Blade', you couldn't call him. After awhile, he would communicate with post-its that he would give to the director, and each one he would sign "Blade"."

"The final hunt begins."

"He fought the forces of darkness alone … until now."

"Wesley Snipes – Blade/Eric Brooks/"The Daywalker""

"Kris Kristofferson – Abraham Whistler"

"Dominic Purcell – Drake"

"Jessica Biel – Abigail Whistler"

"Ryan Reynolds – Hannibal King"

"Parker Posey – Danica Talos"

"Mark Berry – Chief Martin Vreede"

"John Michael Higgins – Dr. Edgar Vance"

"Callum Keith Rennie – Asher Talos"

"Paul Michael Levesque (Triple H) – Jarko Grimwood"

"Paul Anthony – Wolfe"

"Françoise Yip – Virago"

"Michael Rawlins – Wilson Hale"

"James Remar – Ray Cumberland"

"Natasha Lyonne – Sommerfield"

"Patton Oswalt – Hedges"

"Christopher Heyerdahl – Caulder"

"Forget what you think you know. Vampires exist. My name is Blade. I was born half human, half vampire. They call me, The Daywalker. I have all their strengths, none of their weaknesses, execpt for the thirst. 20 years ago, I met a man that changed that. Whistler. He taught me how to hold the thirst at bay. Taught me the rules. Gave me the weapons to hunt with: Silver, garlic, sunlight. Two years ago, he was attacked. They took him, and turned him into the thing I hate most. I should have finished him off. Now, I'm hunting him. I will find him. And nothing will stand in my way."

"[To Rush] Take me to him, and I'll consider you a loose end."

"There's an old saying: Keep your friends close, your enemies keep closer."

"You obviously do not know who you are FUCKING WITH!"

"[When he sees the vampire nightclub, which is packed with several hundred partying vampires] You've got to be kidding me."

"[After Scud asks about what Blade thought about his betrayal] Two things: One, I've been onto you since they turned you. And two... [About the "dud" explosive Scud is holding] it's not a dud."

"[To Reinhardt] Can you blush?"

"[To Rush] You didn't think I forgot about you, did you?"

"[After being scolded for turning on the ultraviolet light]] Yeah well some of us can't see in the dark ya fuckin' nipple head, what am I supposed to do?"

"They tortured me almost to death, and then let me heal in a vat of blood so they could go at it again. Sorry sons of bitches could have at least fixed my damn leg while they were at it."

"[After Scud punches him] Why, you little shit."

"[after Scud has just been blown up by a bomb] I was just startin' to like him."

"[To Chupa] I love it when you talk dirty, sweetheart."

"Hey, kid! [Throws Blade his sunglasses]"

"(deleted scene) Never underestimate the power of the pussy, boys. One cunt hair off that thing can drag a freight train a mile uphill."

"[In Vampire tongue] Vampires. I hate vampires."

"Blade. Is the enemy of my enemy my friend... or my enemy?"

"You want me, Blade? Here I am. Why kill me? We want the same thing."

"We need the same thing, Blade."

"After all, it looks like I've finished my father's job!"

"[Last words] It's... strange. It hurts... it hurts no more."

"Nyssa! Put your sword away! Your people shot first."

"We represent the ruling body of the vampire nation."

"[Blade explains his plan to wipe out the Reapers] In broad daylight?"

"[while being overrun by Reapers] You want a bite of me? Well, come on! Come on, motherfucker!"

"[while Blade is trying to activate the bomb] By the way, Blade, did I ever mention the bomb lever is stuck?"

"They want us to to spray on some suckpuppy's nut juice?"

"Well, like my daddy said right before he killed my mom, "You want anything done right, you gotta do it yourself.""

"[To Blade] Hey me & the gang where wondering: Can you blush?"

"Thought you had me on a short leash, didn't you jefe?"

"[Discovering a large group of Reapers] Eat shit, YOU UGLY MOTHERFUCKERS!!"

"[Before shooting Priest; in Vampire tongue] A man without fear."

"[To Whistler] We lost a man. Priest. You want me to carve his fucking name into your chest, old man?"

"We lose a partner, and Blade loses one!"

"[Last words] What are you trying to do? Stink me to death, old man?"

"Look at them. Half of these bastards, they're not even purebloods. I tell you what, why don't we fucking kill everyone just to make sure."

"[Last words, while painfully transforming into a Reaper] Kill me now, Chupa!"

"Scud: Lock up your daughters boys and girls, the dark knight returns."

"Damaskinos: Who do you think God really favors in the web? The spider, or the fly?"

"Rush: Fuck! It's not silver, but it still hurts like hell!"

"Vampire: [After realizing he is several floors above the ground] Fuck this shit!"

"Vampire: [to Jared Nomak] This is a good news, bad news scenario, Jared: Good news for us, bad news for you."

"Know The Mark."

"Last time he fought against his sworn enemies... This time he will fight with them."

"One Man Still Has The Edge."

"Faster. Sharper. Deadlier."

"Wesley Snipes - Eric Brooks / Blade/'The Daywalker'"

"Norman Reedus - Scud"

"Kris Kristofferson - Abraham Whistler"

"Leonor Varela - Nyssa Damaskinos"

"Ron Perlman - Reinhardt"

"Thomas Kretschmann - Eli Damaskinos"

"Luke Goss - Jared Nomak"

"Matt Schulze - Chupa"

"Karel Roden - Karel Kounen"

"Well, first we wanted to enhance Blade's romantic life, and get him laid! Also we wanted to make it a different environment. Initially it was going to be Vegas but Prague came up, for various reasons, and that's where we went. Also we wanted to make Blade feel more at ease with what he is."

"In Cronos the Vampire was more about the meditation about time and immortality and here in Blade 2 it's the vampire at a basic level, vampires that are just animals that are greedy for blood, I created a new kind of vampires: the reapers that are designed genetically to be even stronger than the normal vampires. But we tried also to find some moments of empathy with these creatures, and there are moments when the reapers look pathetic, like junkies, and at moments when they have a broken arm or a dislocated head you almost feel sorry for them. So we tried to find beauty in these monsters and that's really horrific because it's almost real."

"The first erotic component is in feeding and sucking and I tried not to deal too much with it because it's always the direction that Vampire films take, so I was interested in taking another direction, to explore another side of vampirism. I wanted to make this film more of a dark fantasy, whether through the colours, the camera movement, the design, and the locations. The first Blade was very stylish and hip and yuppyish but in this one I wanted to show the dark side, the decadent side of their world, almost the despair of the vampire universe. I wanted to have of a wicked sense of humour and a graphic approach like a comic book. I wanted to go crazier and to have a better understanding of Blade's psychology and to understand why he is acting the way he does."

"You don't like it, do you Rocco, the storm? Show it your gun, why don't you? If it doesn't stop, shoot it."

"When your head says one thing and your whole life says another, your head always loses."

"One Rocco more or less isn't worth dying for!"

"After living in the USA for more than thirty-five years they called me an undesirable alien. Me. Johnny Rocco. Like I was a dirty Red or something!"

"You'd give your left arm to nail me wouldn't you? I could see the headlines now, 'Local Deputy Captures Johnny Rocco'. Your picture'd be in all the papers. You might even get to tell on the newsreels how you pulled if off, yeah. Listen hick, I was too much for any big city police force to handle. It took the United States Government to pin a rap on me. And they won't make it stick. You hick! I'll be back pulling strings to get guys elected mayor and governor before you ever get a 10-buck raise. Yeah, how many of those guys in office owe everything to me. I made them. Yeah, I made 'em, just like a-like a tailor makes a suit of clothes. I take a nobody, see? Teach him what to say. Get his name in the papers and pay for his campaign expenses. Dish out a lotta groceries and coal. Get my boys to bring the voters out. And then count the votes over and over again till they added up right and he was elected. Yeah- then what happens? Did he remember when the going got tough, when the heat was on? No, he didn't wanna. All he wanted was to save his own dirty neck. . . . Yeah, `Public Enemy,' he calls me. Me, who gave him his `Public' all wrapped up with a fancy bow on it."

"Nothing to stop me from wiping you all out!"

"[to Frank] If you want to find out how good you are at taking it, we'll accommodate you. But let me warn you. Toots is a little rusty. Might slip. And that'd be tooo baaad."

"[to Johnny Rocco] You’re right, you shouldn’t have been deported, you should have been exterminated."

"[praying] Make a big wave. Send it down on us. Destroy us all if need be, but punish HIM."

"Charlie! Charlie Winook and his family, Crawfish Island. Charlie's a prince of the Seminole Nation. His ancestors go back to the gods. He sells sea shells by the sea shore."

"Edward "Toots" Bass: I say smack her and let it go at that."

"Richard "Curly" Hoff: She is a lush, the lady...after she bends the elbow a few times, she begins to see things—rats, roaches, bats, you know...a sock in the kisser is the only thing that will bring her out of it."

"Hold your course, you're headed straight for Key Largo, Kay Largo..."

"Key Largo, a lonely island off the coast of Florida, sultry, heat-ridden, cloaked in the strange menace of the sea. But stranger still is the destiny that brings these people to this remote outpost, to be held at bay with a price on their lives, by a man with a price on his head."

"Humphrey Bogart — Frank McCloud"

"Edward G. Robinson — Johnny Rocco"

"Lauren Bacall — Nora Temple"

"Harry Lewis — Edward "Toots" Bass"

"Thomas Gomez — Richard "Curly" Hoff"

"Lionel Barrymore — James Temple"

"William Haade — Ralph Feeney"

"Claire Trevor — Gaye Dawn"

"[narrating] Five thousand years ago, a fierce warrior known as the Scorpion King led a great army on a campaign to conquer the known world. After a vicious campaign that lasted seven long years, the Scorpion King and his army were defeated and driven deep into the sacred desert of Ahm Shere. One by one, they slowly perished under the scorching sun, until only the great warrior himself was left alive. Near death, the Scorpion King made a pact with the dark god Anubis, that if Anubis would spare his life and let him conquer his enemies, he would give him his soul. Anubis accepted his offer and spared his life. Anubis gave the Scorpion King command of his army, and like an evil flood, they washed away all that lay before them. When his task was done, Anubis forced the Scorpion King to serve him for all time. His army was returned to the sands from whence they came, where they wait, silently, to be awakened once again."

"Folks, knowing my brother-in-law, he probably deserves whatever you're about to do to him. But this is my house, and I have certain rules about snakes and dismemberment."

"Whatever it is, whatever you want, O'Connell, I don't care! Every time I hook up with you, I get shot! Last time I got shot in the arse. I'm in mourning for my arse!"

""We worked with a guy called Dr. Stuart Smith from UCLA and he’s an Egyptologist. He put all this stuff on tape for us and it’s kind of the closest we can come to what we think the actual language sounded like. It’s like ancient Latin. When we speak Latin now we think it’s what it sounded like, but we’re not really sure. The problem with a lot of this Egyptian stuff is words like ‘look out’ become like 10 lines. Steve would go, ‘No, no, no. Lose the first four words. Say that word and then say the last word.’ So basically, I’d end up making the stuff up."

"Adventure is reborn."

"He will rise again."

"The most powerful force on Earth is about to be unleashed by the two people who should know better."

"Brendan Fraser - Richard "Rick" O'Connell"

"Rachel Weisz - Evelyn "Evy" Carnahan O'Connell/Princess Nefertiri"

"Freddie Boath - Alexander "Alex" O'Connell"

"John Hannah - Jonathan Carnahan"

"Oded Fehr - Ardeth Bey"

"Arnold Vosloo - High Priest Imhotep"

"Alun Armstrong - Baltus Hafez, the cult leader"

"Patricia Velasquez - Meela Nais / Anck-Su-Namun"

"Adewale Akinnuoye-Agbaje - Lock-Nah"

"Dwayne Johnson - The Scorpion King"

"[To ice cream vendor] What're you looking at? Never seen an ice cream thief before? [Runs away without paying, laughing maniacally]"

"[Shouting while puncturing football] No more soccer!"

"How come you became righteous? Have you anything to say? [Sing draws a stick of candy on the ground with his blood] I can't read it, it's not in Chinese!"

"[To tailor] What's with the red underwear?"

"You may know kung fu... but you're still a fairy."

"In the world of kung fu, speed defines the winner."

"Don't get me wrong! I only want to kill you, or be killed by you."

"It's just a title.(Referring to the name The Beast)"

"This doesn't make any sense at all."

"A New Comedy Unlike Anything You Have Seen Before."

"So Many Gangsters... So Little Time."

"From Walking Disaster To Kung Fu Master."

"Stephen Chow - Sing"

"Chi Chung Lam - Bone"

"Qiu Yuen - Landlady"

"Wah Yuen - Landlord"

"Xing Yu - Coolie"

"Dong Zhi Hua - Donut"

"Chiu Chi Ling - Tailor"

"Leung Siu-Lung - The Beast"

"Kwok Kuen Chan - Brother Sum"

"Kai Man Tin - Axe Gang Advisor"

"[reads card] "Reprogram"? [to Danny] What the heck does that mean?!"

"[angrily blaming Danny] IT'S YOUR FAULT MOM AND DAD GOT DIVORCED!"

"[to Danny; gently] I'm your brother. And that's what being a brother means. Means I'll never let anything happen to you."

"[after the Robot is reprogrammed and fights off the Zorgons] Guess that's what's the reprogram card's for."

"IT'S METEORS!! TAKE ERASIVE ACTION!! TAKE ERASIVE ACTION!!"

"It's just a goat; it's just a goat… [space goat opens 4 additional eyes]"

"[card reads "FLUNK SPACE ACADEMY Go back 1 space"] I'm not even going to comment on that."

"[when he spins a 1] One. God, I suck."

"IT'S A BLACK HOLE!!!! ZATHURA IS A BLACK HOLE!!!!!"

"Zorgons. They're big gnarly lizards. Cold-blooded heat seekers and the tiniest spark of warmth will bring them in like moths. Flying all around in the galaxy. Looking for anything they can find to burn up. (Walter: Why don't they just burn up their own planet?) Oh, they already did. That's not even the worst of it. Their problem is their ravenous appetite. They never stop eating. (Walter: What do they eat?) Meat. (Danny: That's… good.) Dude! you're meat."

"Burning gas! That's probably what brought 'em here in the first place!"

"Nope. I'm doing this because I've been eating paste out of a tube for 15 years."

"[to Lisa] The Astronaut, from the game we're in. [pointing at Danny] Danny spun me."

"A new adventure from the world of Jumanji."

"Adventure is waiting."

"Jonah Bobo: Danny"

"Josh Hutcherson: Walter"

"Kristen Stewart: Lisa"

"Tim Robbins: Dad"

"Frank Oz: Robot (voice)"

"John Alexander: Robot"

"Derek Mears: Lead Zorgon"

"Douglas Tait: Zorgon"

"Joe Bucaro III: Zorgon (as Joe Bucaro)"

"Jeff Wolfe: Zorgon"

"Guess who's coming to save the world again?"

"Be ready to believe us."

"The Superstars of the Supernatural are back. And this time, it's no marshmallow roast."

"We're back!"

"I'm not interested in doing anything I've already done, and I thought the second one was a disappointment."

"Harold Ramis as Dr. Egon Spengler"

"Bill Murray as Dr. Peter Venkman"

"Dan Aykroyd as Dr. Raymond Stantz"

"Ernie Hudson as Winston Zeddemore"

"Sigourney Weaver as Dana Barrett"

"William T. Deutschendorf and Hank J. Deutschendorf II as Baby Oscar"

"Rick Moranis as Louis Tully"

"Annie Potts as Janine Melnitz"

"Peter MacNicol as Dr. Janosz Poha"

"Harris Yulin as Judge Stephen Wexler"

"Janet Margolin as Prosecuting Attorney "Kitten""

"David Margulies as Mayor Lenny"

"Kurt Fuller as Jack Hardemeyer"

"Wilhelm von Homburg and Max von Sydow as the body and voice of Vigo the Carpathian, respectively"

"You know how much the guys in the outfit hated me. Well, not as much as I hated them, of course."

"Twelve days of Christmas! One day of Christmas is loathsome enough!"

"My mother, Ben, is a terrible woman. A terrible, terrible woman... You know, Ben, it's a terrible thing to hate your mother. But I didn't always hate her. When I was a child, I only kind of disliked her. But after what she did to Jocie and me, that's when I began to hate her... Jocie Jordan - Senator Jordan's daughter... Thomas Jordan's daughter and Johnny Iselin's step-son... Years later, I realized, Ben, that I am not very loveable... Some people are loveable and some people are not loveable. I am not loveable. Oh, but I was very loveable with Jocie. Ben, you can't believe how loveable I was."

"You just cannot believe, Ben, how loveable the whole damn thing was. All summer long, we were together. I was loveable, Jocie was loveable, the Senator was loveable, the days were loveable, the nights were loveable, and everybody was loveable - except, of course, my mother."

"[Of his mother, Mrs. Iselin] She won, of course. She always does. I could never beat her. I still can't... I'm not loveable. But I loved her. I did love her. I do love her."

"We flew to Maryland last night. We got married. We just got back...There we were, the Queen of Diamonds and me looking like, I don't know, like Gaucho Marx... Ben, I just made a joke. Not a very good joke, I admit, but a joke. Ben, in all the years that you've known me, have you ever heard me make a joke? Well, I just made one. Gaucho Marx! Me! Ha! Big day! Mark that down in your book. Raymond Shaw got married and he made a joke. Gaucho Marx."

"Have you noticed that the human race is divided into two distinct, irreconciliable groups? Those who walk into rooms and automatically turn television sets on, and those who walk into rooms and automatically turn them off. You know, the problem is, they usually marry each other which naturally causes a great deal of..."

"[Of Sen. Iselin] I'm gonna beat that vile, slandering, son-of-a-numbskull to a bloody pulp."

"[To Ben, after killing his mother and Senator Iselin] You couldn't have stopped them, the army couldn't have stopped them. So I had to."

"Intelligence officer. Stupidity officer is more like it. Pentagon wants to open a Stupidity Division, they know who they can get to lead it."

"[Repeated line] Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I've ever known in my life."

"[Hypnotized] I will make my report on the patrol... I will recommend urgently that Raymond Shaw be posted to the Medal of Honor. He saved our lives and took out a complete company of Chinese infantry."

"I tell ya, there's something phony going on. There's something phony about me, about Raymond Shaw, about the whole Medal of Honor business... I said: 'Raymond Shaw is the kindest, warmest, bravest, most wonderful human being I've ever known in my life,' and even now I feel that way - this minute. And yet, somewhere in the back of my mind, something tells me it's not true. It's just not true. It isn't as if Raymond's hard to like. He's impossible to like. In fact, he's probably one of the most repulsive human beings I've ever known in my whole - all of my life."

"[Shouting, to Chunjin, as they fight] What was Raymond doing with his hands?... How did the old ladies turn into Russians?... What were you doing there?"

"[To Jocelyn Jordan] Raymond is sick, Mrs. Shaw, in a kind of a special way. He doesn't even realize it himself."

"Raymond Shaw shot and killed his wife early this morning... It wasn't Raymond that really did it. In a way, it was me."

"Remember, Raymond, the wires have been pulled. They can't touch you anymore. You're free."

"[To Colonel Milt] I tell ya, there's a bomb here, a time bomb that's set waiting to go off."

"I can see that Chinese cat standin' there smiling like Fu Manchu."

"[Last lines] Poor Raymond. Poor friendless, friendless Raymond. He was wearing his medal when he died. You should read some of the citations sometime. Just read them. [Reading from U.S. Army book of Medal of Honor citations] Taken, eight prisoners, killing four enemy in the process while one leg and one arm was shattered and he could only crawl because the other leg had been blown off - Edwards. Wounded five times, dragged himself across the direct fire of three enemy machine guns to pull two of his wounded men to safety amid sixty-nine dead and two hundred and three casualties - Holderman. [Puts book down] Made to commit acts too unspeakable to be cited here by an enemy who had captured his mind and his soul, he freed himself at last and in the end, heroically and unhesitatingly gave his life to save his country. Raymond Shaw... Hell... Hell. [Thunder claps]."

"This nation jealously guards its highest award for valor - the Congressional Medal of Honor. In the Korean War, with five million, seven hundred and twenty thousand personnel engaged, only seventy-seven men were so honored. One of these seventy-seven men was Staff Sergeant Raymond Shaw. Raymond Shaw was returned from combat and flown directly to Washington to be decorated personally by the President of the United States. This is why his presence, or the presence of any Medal of Honor winner is sufficient to bring generals to their feet saluting."

"On the afternoon of his arrival in Washington, Raymond Shaw was decorated at the White House by the President of the United States. His citation attested to by his commanding officer, Captain Bennett Marco, and the nine surviving members of his patrol, read in part: 'Displaying valor above and beyond the call of duty did single-handedly save the lives of nine members of his patrol, capturing an enemy machine gun nest and taking out in the process a full company of enemy infantry. He then proceeded to lead his patrol which had been listed as missing in action for three days back through the enemy lines to safety.'"

"The war in Korea was over. Captain, now Major Bennett Marco had been reassigned to Army Intelligence in Washington. It was, by and large, a pleasant assignment, except for one thing. Night after night, the Major was plagued by the same re-occurring nightmare."

"Allow me to introduce our American visitors. I must ask you to forgive their somewhat lackadaisical manners, but I have conditioned them - or brain-washed them, which I understand is the new American word. They believe that they are waiting out a storm in the lobby of a small hotel in New Jersey where a meeting of the ladies' garden club is in progress."

"Ah, yes. Yak dung...tastes good. Like a cigarette should."

"I am sure you've all heard the old wives' tale that no hypnotized subject may be forced to do that which is repellant to his moral nature, whatever that may be. Nonsense, of course."

"[To Raymond] Do you realize, Comrade, the implications of the weapon that has been placed at your disposal?... A normally-conditioned American, who has been trained to kill and then to have no memory of having killed. Without memory of his deed, he cannot possibly feel guilt. Nobody, of course, has any reason to fear being caught. Having been relieved of those uniquely American symptoms, guilt and fear, he cannot possibly give himself away. Ah, now Raymond will remain an outwardly-normal, productive, sober, and respected member of the community. And I should say, if properly used, entirely police-proof."

"Why don't you pass the time by playing a little solitaire?"

"His brain has not only been washed, as they say, it's been dry-cleaned."

"The Queen of Diamonds is reminiscent in many ways of Raymond's dearly loved and hated mother and is the second key to clear the mechanism for any other assignment."

"[repeated line, to Raymond] Why don't you pass the time with a game of solitaire?"

"Raymond, if we were at war, and you were suddenly to become infatuated with the daughter of a Russian agent, wouldn't you expect me to come to you and object, and beg you to stop the entire thing before it was too late? Well we are at war. It's a Cold War, but it will get worse and worse until every man, woman, and child in this country will have to stand up and be counted, to say whether they are on the side of right and freedom or on the side of the Thomas Jordans of this country. I will go with you to Washington, tomorrow if you like, and I will show you documented proof that this man stands for evil, that he is evil, and that his whole life is devoted to undermining everything that you and I and Johnny, and every freedom-minded American—"

"[To her husband, Sen. Iselin] It has occurred to me that Tom Jordan's daughter Jocelyn... so I might have been a little hasty. Anyway, times change. I now think she would make Raymond an excellent wife. She's been living in Paris for the past two years. I have word she'll be coming home soon and when she does, I think we should give a little party."

"[To Sen. Iselin] I keep telling you not to think. You're very, very good at a great many things, but thinking, hon', just simply isn't one of them. You just keep shouting "Point of Order, Point of Order" into the television cameras and I will handle the rest."

"[To Raymond] It's been decided that you will be dressed as a priest to get away in the pandemonium afterwards. Chunjin will give you a two-piece Soviet Army's sniper's rifle that fits nicely into a special bag. There's a spotlight booth that won't be in use. It's up under the roof on the 8th Avenue side of the Garden. You will have absolutely clear, protected shooting. You are to shoot the Presidential nominee through the head. And Johnny will rise gallantly to his feet and lift Ben Arthur's body in his arms, stand in front of the microphones and begin to speak. The speech is short, but it's the most rousing speech I've ever read. It's been worked on here and in Russia on and off for over eight years. I shall force someone to take the body away from him. And Johnny will leave those microphones and those cameras with blood all over him, fighting off anyone who tries to help him, defending America even if it means his own death, rallying a nation of television-viewers into hysteria to sweep us up into the White House with powers that will make martial law seem like anarchy. Now this is very important. I want the nominee to be dead about two minutes after he begins his acceptance speech, depending on his reading time under pressure. You are to hit him right at the point that he finishes the phrase, "nor would I ask of any fellow American in defense of his freedom that which I would not gladly give myself - my life before my liberty." Is that absolutely clear?"

"I know you will never entirely comprehend this, Raymond, but you must believe I did not know it would be you. I served them. I fought for them. I'm on the point of winning for them the greatest foothold they would ever have in this country. And they paid me back by taking your soul away from you. I told them to build me an assassin. I wanted a killer from a world filled with killers and they chose you because they thought it would bind me closer to them. [She places the sides of his face in her outstretched hands.] But now, we have come almost to the end. One last step. And then when I take power, they will be pulled down and ground into dirt for what they did to you. And what they did in so contemptuously under-estimating me."

"I have here a list of the names of 207 persons who are known by the Secretary of Defense as being members of the Communist Party... I demand an answer, Mr. Secretary. There will be no covering up, sir, no covering up. You are not going to get your hands on this list. And I deeply regret having to say..."

"[To party guests, after cutting into a serving of caviar styled like the American flag] It's all right, it's Polish caviar!"

"[Of Raymond] He's tied up inside in a thousand knots. I know that but... You've got to believe me and trust me. I can make him well."

"Psychiatrist: Human fish, swimming at the bottom of the great ocean of atmosphere, develop psychic injuries as they collide with one another. Most mortal of all are those gotten from the parent fish."

"Secretary of Defense: Since no great naval power menaces the free world today, the Navy's overwhelming preponderance of surface ships seems to be superfluous, hence the cuts in budget."

"Bartender: [overheard by Raymond, who had just primed himself to receive a command by dealing the Queen of Diamonds] Why don't you go and take yourself a cab and go up to Central Park and go jump in the lake?"

"Rosie: [To Ben] ...You were a pretty solid type yourself, according to Washington - with whom they had apparently checked. So I figured if they were willing to go to all the trouble to get a comment on you out of George Washington, why - you must be somebody very important indeed. And I must say it was rather sweet of the General with you only a Major. I didn't even know you knew him. If they were the tiniest bit puzzled about you, they could have asked me. Oh yes, indeed, my darling Ben. They could have asked me and I would have told them. [They kiss]"

"Senator Thomas Jordan: [To Raymond] I once found it necessary to sue your mother for defamation of character and slander... One of your mother's more endearing traits is her tendency to refer to anyone who disagrees with her about anything as a Communist."

"Senator Thomas Jordan: [To Mrs. Iselin] I despise John Iselin and everything that Iselin-ism has come to stand for. I think if John Iselin were a paid Soviet agent, he could not do more to harm this country than he's doing now."

"TV News Broadcast: ...Jocelyn Jordan, daughter of Senator Thomas Jordan and Korean war hero Raymond Shaw, step-son of Senator John Iselin. It appears, however, that this Montague-Capulet note would have little effect on the feud now raging between the two party leaders. From his campaign headquarters this morning, Senator Iselin stepped up his charges against the leader of the group attempting to block his nomination."

"When you've seen it all, you'll swear there's never been anything like it!"

"This is the man they all said is the warmest, kindest, most wonderful human being they ever knew!"

"After you've felt its shock you'll swear there's never been anything like it!"

"Once unbelievable. Now unthinkable. The chilling classic returns. [re-release]"

"Frank Sinatra — Major Bennett "Ben" Marco"

"Laurence Harvey — Staff Sergeant Raymond Shaw"

"Janet Leigh — Eugenie Rose "Rosie" Chaney"

"Angela Lansbury — Mrs. Iselin"

"James Gregory — Senator John Yerkes Iselin"

"Leslie Parrish — Jocelyn "Jocie" Jordan"

"John McGiver — Senator Thomas Jordan"

"Khigh Dhiegh — Doctor Yen Lo"

"Douglas Henderson — Colonel Milt"

"Albert Paulsen — Zilkov"

"Joe Adams — Psychiatrist"

"It's still on and we're goin'. Cyrus sent an emissary this afternoon to make sure. Now, Cyrus don't want anybody packed and he don't want anybody flexing any muscle. So, I gave him my word that the Warriors would uphold the truce. [pause] Now everybody says that Cyrus is the one and only. I think we better go have a look for ourself."

"[banging bottles together] Warriors, come out to play-i-ay!"

"[Swan demands a one-on-one fight and he pulls out a gun] One on one? You're crazy. You're dead, all of you, and you know it. You're dead."

"Masai: [addressing the Gramercy Riffs] Who are the Warriors? [no reply] There must be some word! [no reply] I want them all! I want ALL the Warriors! I want them alive, if possible. If not, wasted! But I want them. Send the word!"

"Mercy: Yeah, that's right, Warriors. Just keep walkin'. Real tough muthas, ain't ya? You guys don't show me much. Why don't you dickheads just walk all the way back home, huh?"

"D.J.: [last lines] Good news, Boppers: The big alert has been called off. It turns out that the early reports were wrong, all wrong. Now for that group out there that had such a hard time getting home, sorry about that. I guess the only thing we can do is play you a song. [the Warriors theme song, "In the City" plays]"

"What made it a success with young people... is that for the first time somebody made a film within Hollywood, big distribution, that took the gang situation and did not present it as a social problem. Presented them as a neutral or positive aspect of their lives. As soon as you said in the old days gang movies it was how do we cure the pestilence and how do we fix the social waste. We want to take these kids, make sure they go to college... This was just a movie that conceptually was different. Accepted the idea of the gang, didn't question it, that was their lives, they functioned within that context. And the social problem wasn't were they going to college, but were they going to survive. It's the great Hawksian dictum, where is the drama? Will he live or die? That's the drama."

"Hollywood forgives a lot when you have a hit. I don't know what to say about it, other than the fact that it was just a gift in terms of getting it. The studio hated it, and didn't even want to release it. There was a lot of friction with management at the time. Some of it might have been my fault."

"These are the Armies of The Night. They are 60,000 strong. They outnumber the cops three to one. They could run New York City. Tonight they're all out to get the Warriors."

"They outnumber the cops three to one."

"They are 60,000 strong."

"They could run New York City."

"Tonight they're all out to get the Warriors."

"Michael Beck - Swan"

"James Remar - Ajax"

"Dorsey Wright - Cleon"

"Brian Tyler - Snow"

"David Harris - Cochise"

"Tom McKitterick - Cowboy"

"Thomas G. Waites - Fox"

"Terry Michos - Vermin"

"Marcelino Sánchez - Rembrandt"

"Deborah Van Valkenburgh - Mercy"

"Roger Hill - Cyrus"

"David Patrick Kelly - Luther"

"Lynne Thigpen - D.J."

"Ginny Ortiz - Candy Store Girl"

"Mercedes Ruehl - Policewoman"

"John Snyder - Gas Station Man"

"Edward Sewer - Masai"

"Paul Greco - Sully, the Orphans leader"

"[to Noriko Nakagawa] I'm weak, I'm useless, but I'll stay by your side; I'll protect you."

"What's wrong with killing? Everybody's got their reasons."

"There's a way out of this game. Kill yourselves together, here, now. If you can't do that, then don't trust anyone... just run."

"So today's lesson is...you kill each other off until there's only one left. Nothing's against the rules!"

"Each weapon is different. Not just guns or knives either! It is random so maybe you will get lucky, maybe not. It eliminates natural advantages. [picks up axe] Oooh. This one is SUPER lucky."

"Could you kill your best friend?"

"One Dead. 41 To Go."

"42 Students, Three Days, One Survivor, No Rules."

"Today, I killed my best friend."

"Have you ever killed your best friend?"

"Hunger Games author Suzanne Collins came from a military family. But Battle Royale director Kinji Fukasaku actually survived World War II. He was just a teenager himself when he was put to work in a munitions factory in Japan. "It was bombed, a lot," Hendrix says. "And one of his jobs, at the age of 15, was to take a wheelbarrow around the factory and pick up body parts after bombing raids." The experience left Fukasaku with a lasting abhorrence of war — and a profound sense of betrayal by grownups that persisted into his own adulthood. And it fueled his decision to film Battle Royale, which was both highly controversial and a massive theatrical hit when it was released in Japan, despite a rating that kept young teenagers from seeing it. That irritated the director, says Hendrix. "He gave a very famous statement to the press where he said, 'Kids, if you have the courage, you can sneak in. And I encourage you to do so.'""

"Hendrix says one of the most important things Battle Royale and The Hunger Games share is the idea of teenagers trapped in a ruined society, coerced by grownups into doing horrible things. Even so, they both make it clear — there's nothing more utopian than a teenager. Even in a dystopia."

"Tatsuya Fujiwara — Shuya Nanahara (Boy #15)"

"Aki Maeda — Noriko Nakagawa (Girl #15)"

"Taro Yamamoto — Shogo Kawada (Boy #5)"

"Chiaki Kuriyama — Takako Chigusa (Girl #13)"

"Kou Shibasaki — Mitsuko Souma (Girl #11)"

"Beat Takeshi — Teacher Kitano"

"In Bay City, when you cross the line, your nuts are mine."

"Stop shooting my car!"

"When I house sit for my sister I don't claim it's my house."

"[After accidentally shooting a horse] Are you OK, little pony?"

"Come on cap, don't drag Hutch into this. It was me, I shot the pony."

"[kid throws a knife and hits Starsky] Ow! Oh, mama! What is your problem?"

"A little word of advice: next time you're watching a place, don't claim that you own it just because you're watching it, OK? I house sit for my sister all the time; it's not like I claim that I own her house, ya know what I mean?"

"That's me in the leather jacket and tight jeans."

"I am not...my MOTHER!!!!"

"It was my mother she always used to say it was too much car for me to handle. I couldn't handle the V8."

"Do it, Do it."

"I've always had this theory about police work. If you can't beat 'em? join 'em! Besides, a lot of cops worry about the wrong thing - crime. Not me though. I'm looking out for numero uno."

"[drunk in Huggy's bar, talking to another customer] Ruin me! He didn't care if he got ruined, that was the whole point of the episode."

"[ducking] That ain't a kid, it's a tiny little man... And he's got knives. Goddamn."

"I don't know. Listen to Jim Croce, play darts... whatever the hell else you white people do."

"It's a '76, won't be out 'til next year. But I know some people who know some people that rob some people."

"I found yo' nine-iron, bitch."

"Look man, this grass is Alabama Creepin' Bent, as opposed to Georgia Creepin' Bent. It's lighter."

"That's for putting hands on Huggy Bear. Nobody touches the Bear, you dig?"

"Look what the wind blew in."

"I believe that was God - the greatest mack of all."

"Coke: it costs money. Planes: they cost money. This yacht, this perm, my kid's braces: it all costs money... Do you think Kitty's free?"

"If this shit wasn't illegal guys, we'd be up for the Nobel Prize."

"Ya know, I believe it was our buddy Bill Shakespeare who said, "To err is human, but to forgive, well that's right on.""

"Goodbye, heroes!"

"Big Earl: Alright guys, I'm not gonna lie to you. This is gonna get weird... 2 dragons."

"Dancin' Rick: This floor is made for dancin', you can tell by the lights."

"They're the man."

"The original partners in crime."

"Tough on crime. Easy on the eye."

"Always on the lookout for a big bust."

"Crimebustin's a joint effort."

"Good Cops. Bad Hair."

"Ben Stiller — Starsky"

"Owen Wilson — Hutch"

"Snoop Dogg — Huggy Bear"

"Vince Vaughn — Reese"

"Fred Williamson — Captain Doby"

"Juliette Lewis — Kitty"

"Jason Bateman — Kevin"

"Amy Smart — Holly"

"Carmen Electra — Stacey"

"George Cheung — Chau"

"Chris Penn — Manetti"

"Molly Sims — Mrs. Feldman"

"Terry Crews — Porter"

"Brande Roderick — Heather"

"Patton Oswalt — Disco DJ"

"Will Ferrell (uncredited) — Big Earl"

"I tell you what. Let’s drink to the one thing that never changes, to the one permanent part of a man’s life... honor, indeed. Burglar proof, weather proof, fool proof, one hundred-proof! Honor. Everything else is subject to the... powers that be. To the caprices of often inferior men. But your honor is your own, inviolate. So then- to honor."

"Now, they'll respect the rank. But God knows- they won't respect the man, unless he earns it. And the loyalty of men is always hard to earn."

"[Last words, firing a machine gun] It's beautiful, man! Beautiful!"

"George C. Scott - Brigadier General Harlan Bache, USA (Ret.)"

"Timothy Hutton - Cadet Major Brian Moreland"

"Ronny Cox - Colonel Kerby"

"Sean Penn - Cadet Captain Alex Dwyer"

"Tom Cruise - Cadet Captain David Shawn"

"Brendan Ward - Cadet Plebe Charlie Auden"

"Evan Handler - Cadet First Lieutenant Edward West"

"John P. Navin Jr. - Cadet Plebe Derek Mellott"

"Billy Van Zandt - Cadet Bug"

"Giancarlo Esposito - Cadet Captain J.C. Pierce"

"Donald Kimmel - Cadet Sergeant Billy Haris"

"Tim Wahrer - Cadet Major John Cooper"

"Wayne Tippit - Master Sergeant Kevin Moreland"

"If Robin and I were to remove our masks, the secret of our true identities will be revealed."

"So it seems, loose to plague us with his criminal conundrums."

"They may be drinkers, Robin, but they're also human beings."

"Bon Voyage, Pussy."

"Some days you just can't get rid of a bomb..."

"I will bash him brutally."

"Holy Sardine!"

"Catwoman?!"

"Holy nightmare!"

"Holy Polaris!"

"Holy Halloween!"

"Holy heart failure!"

"Holy bikini, that was close!"

"Holy Captain Nemo!"

"Holy heartbreak! Miss Kitka!"

"Holy jumble! Where's the hope of the world now?"

"[meows] You're going to see the purr-fect crime, when I get Batman in my claws! [hisses]"

"Scratch out their eyes!"

"Me-ow-oww."

"I say its crazy. But I say let's try it. We have to do something to get Batman out of the way!"

"Miss Kitka dies if you take one more step!"

"Nothing can stop us now."

"I'll slip into something more comfortable while your cocoa is warming."

"Penguin, you KNOW cats hate water!"

"Narrator: This yacht is bringing a revolutionary scientific invention to Gotham City. On a peaceful afternoon motor ride, millionaire Bruce Wayne and his youthful ward Dick Grayson have been summoned back to Wayne Manor by an urgent but anonymous call for help; the invention AND its custodian are reported in grave danger aboard the yacht! Never ones to shirk responsibility, Bruce and Dick, with characteristic speed and resolve, descend promptly into The Batcave, and then, as they have done many times before, as BATMAN AND ROBIN, courageous warriors against crime, they are off once again to the rescue!"

"The Riddler: Question: Who's going to make the feathers fly and knock Batman and Robin out of the sky?"

"The Joker: Have you heard this one? It'll KILL you, Batman! [laughs]"

"Penguin: There are two eggs this wily bird is gonna scramble. Batman and Robin!"

"FOR THE FIRST TIME ON THE MOTION PICTURE SCREEN IN COLOR! Adam West As Batman And Burt Ward As Robin Together With All Their Fantastic Derring-Do And Their Dastardly Villains, Too!"

"MEN DIE! WOMEN SIGH! Beneath that Batcape - he's all man!"

"Adam West - Bruce Wayne/Batman"

"Burt Ward - Dick Grayson/Robin"

"Lee Meriwether - Miss Kitka/The Catwoman"

"Cesar Romero - The Joker"

"Burgess Meredith - The Penguin"

"Frank Gorshin - The Riddler"

"Alan Napier - Alfred Pennyworth"

"Neil Hamilton - Commissioner James Gordon"

"Stafford Repp - Chief O'Hara"

"Madge Blake - Aunt Harriet Cooper"

"Does a nightingale sing?"

"He move like a baboon, with two clubbed feet!"

"You move like a pregnant yak. Sit."

"You did not ask to be white. So perhaps that is not your fault. You did not ask to be here. Perhaps that is not your fault, either."

"Breathe out... slowly... do not gulp. If you do not breathe correctly, you do not move correctly. Pitiful. I can see the deadly hamburger has done its evil work. We must sweat the poison from your body and rebuild."

"Do you know why Americans call it 'fast food'? Because it speeds them on their way to their graves."

"The trained mind does not need a watch. Watches are a confidence trick invented by the Swiss."

"Professional assassination is the highest form of public service."

"For an apricot, yes. For a head of lettuce, even more so. But for a mountain I am not even begun in years. However, for a man I am just right."

"Fear is nothing more than a feeling. You feel hot. You feel hungry. You feel angry. You feel afraid. Fear can never kill you."

"Purge your mind of fear and believe in yourself. Without that belief, I can do nothing with you."

"Kung Fu, Karate, Ninjitsu... nothing more than shadows. Sinanju is the sun."

"I reloaded."

"(holding broken door handle after surving truck crash) In Korea, door handles do not break."

"[after having run across a span of water to reach a speedboat that Remo is piloting] You must run very fast."

"Place your hands on top of your head." [Kicks Remo in the crotch] "I did not say to keep them there."

"Conn MacCleary: [to Remo] You're going to be the Eleventh Commandment: 'Thou shalt not get away with it.'"

"Conn MacCleary: [to Remo] Remember, in out, like a duck mating."

"Gen. Scott Watson: So listen to this, George. Lyman four-putts. Four-putts, mind you. I thought he'd have a stroke. And I'd have claimed it if he had."

"Harold Smith: Guard, protect and cherish your land, for there is no afterlife for a place that started out as Heaven. Charles M. Russell, Montana, 1926."

"Look out! He's unarmed and dangerous!"

"The Destroyer Movie!"

"A most reluctant hero takes you on an action-adventure armed only with his fists and wits...and with his tongue planted in his cheek."

"Fred Ward - Remo Williams"

"Joel Grey - Chiun"

"Wilford Brimley - Harold Smith"

"J.A. Preston - Conn MacCleary"

"George Coe - Gen. Scott Watson"

"Charles Cioffi - George Grove"

"Kate Mulgrew - Maj. Rayner Fleming"

"Patrick Kilpatrick - Stone"

"Michael Pataki - Jim Wilson"

"Robert Gould Shaw, the son of wealthy Boston abolitionists, was 23 years old when he enlisted to fight in the War between the States.He wrote home regularly, telling his parents of life in the gathering Army of the Potomac.These letters are collected in the Houghton Library of Harvard University."

"The 54th Massachusetts Brigade lost over half its number in the assault on Ft. Wagner. The supporting white brigades also suffered heavily before withdrawing.The fort was never taken.As word of their bravery spread, Congress at last authorized the raising of black troops throughout the Union. Over 180,000 volunteered.President Lincoln credited these men of color with helping turn the tide of the war."

"[first lines, in a letter] Dear Mother, I hope you are keeping well and not worrying too much about me. You mustn't think that any of us are going to be killed, for they are collecting such a force here that an attack would be insane. The Massachusetts men passed through here this morning. How grand it is to meet the men from all the states, east and west, ready to fight fro their country, as the old fellows did in the Revolution. But this time, we must make it a whole country, for all who live here, so that all can speak. Before this war began, many of my regiment had never seen a negro, and now the roads are choked with the dispossessed. We fight for men and women whose poetry is not yet written, but which will presently be as enviable and as renowned as any. Last night, we heard of yet another defeat, but we are not disheartened. I am honored to be part of such a splendid company. They have made me captain, of which I am enormously proud. You would think it strange to see me giving orders to a hundred men, most of whom are older than I am. Thank you for sending my volume of Emerson. His words come home to me like truth. "A deep man," he says, "believes that the evil eye can wither, that the heart's blessing can heal, and that love can overcome all odds." My dearest love to Father. Your son, Robert."

"Good morning gentlemen, I am Colonel Robert Gould Shaw. I am your commanding officer. It is a great pleasure to see you all here today. It is my hope that the same courage, spirit, and honor, which has brought us together, will one day restore this Union. May God bless us all!"

"Dear Mother, the men learn very quickly; faster than white troops, it seems to me. They are almost grave and sedate under instruction and they restrain themselves. But the moment they are dismissed from drill, every tongue is relaxed and every ivory tooth is visible and you would not know from the sound of it that this is an army camp. They must have learned this from long hours of meaningless, inhuman work to set their minds free so quickly. It gives them great energy. And there is no doubt we will leave this state as fine a regiment as any that as marched. As ever, your son, Robert."

"It is my job to get these men ready. And I will. They have risked their lives to be here, they have given up their freedom. I owe them as much as they have given. I owe them my freedom...my life if necessary."

"If you men will take no pay, then none of us will! [holds up his own paycheck and tears it in half]"

"Dear Father, I need your help. Despite my many requests, it has become clear that we are to be used only for manual labor. Morale is low. The men's humor darkened by idleness and despair. Why keep drilling if they are never to be given the opportunity to prove themselves? I have written to Governor Andrew as well as to the general staff in Washington. But I feel that only a letter directly from you to Lincoln himself can have the desired effect. I can think of no other course. I am sure you both pray, as I do, that all this has not been in vain."

"There's more to fighting than rest, sir. There's character. There's strength of heart. You should have seen us in action two days ago. We were a sight to see! We'll be ready, sir. When do you want us?"

"[Last words] Come on, Fifty-Fourth!"

"For God's sake, men, you march like a bunch of crippled old goats! Jesus Christ, we're gonna be here day and night till we get this right! One, one! Company, halt! About-face! You are ugly Mexican, African fucking whores! We're gonna work on this day and night till we get this right, gentlemen. Forward at the half step. March!"

"[to Thomas Searles] Oh, look at this. Bonnie Prince Charlie. Are you a gentleman? Are you a member of Congress or something? Or are you the bloody prince of Africa?! [Searles glances at him] Well, don't look at me! [grabs his jaw, points his face forward] Look straight ahead! Look straight ahead! I'll eat your ass up, boy-o!"

"Mr. Rawlins, this regiment was formed with the promise that only white officers would be commissioned to lead it. Nothing was mentioned, however, about noncommissioned officers. Therefore, in recognition of initiative taken not only for yourself, but on behalf of the entire regiment, you are hereby awarded the rank of Sergeant Major. Congratulations."

"Let me tell you something boy. You can march like the white man. You can talk like him. You can learn his songs. You can even wear his suits. But you ain't never gonna be nothing to him but an ugly ass chimp in a blue suit."

"[addressing the 54th the night before battle] I ain't much about no prayin,' now. I ain't never had no family, and...killed off my mama. Well, I just...Y'all's the onliest family I got. I love the 54th. Ain't even much a matter what happens tomorrow, 'cause we men, ain't we? We men."

"Sgt. Maj. John Rawlins: [to a group of children] That's right, honeys. Ain't no dream. We runaway slaves, but we come back fightin' men. Go tell your folks how kingdom come in the year of jubilee!"

"Sgt. Maj. John Rawlins: If tomorrow is our great getting up moment...If tomorrow we have to meet the judgment day...Heavenly Father, we want you to let our folks know...that we died facing the enemy. We want'em to know, that we went down standing up! Amongst those that are fighting against our oppression. We want'em to know, Heavenly Father, that we died fighting for freedom!"

"Pvt. Jupiter Sharts: [praying aloud] Tomorrow we goes into battle. So Lordy, let me fight with the rifle in one hand and the Good Book in the other. So that if I may die at the muzzle of the rifle...die on water, or on land, I may know that you blessed Jesus almighty are with me...and I will have no fear."

"Union Corporal: "Give'em hell 54th!""

"Matthew Broderick - Col. Robert Gould Shaw"

"Denzel Washington - Pvt. Trip"

"Cary Elwes - Maj. Cabot Forbes"

"Morgan Freeman - Sgt. Maj. John Rawlins"

"Jihmi Kennedy - Pvt. Jupiter Sharts"

"Andre Braugher - Cpl. Thomas Searles"

"John Finn - Sgt. Maj. Mulcahy"

"Donovan Leitch - Capt. Charles Morse"

"JD Cullum - Henry Sturgis Russell"

"Alan North - Gov. John Andrew"

"Bob Gunton - Gen. Harker"

"Cliff De Young - Col. James M. Montgomery"

"Richard Riehle - Kendric, quartermaster"

"Raymond St. Jacques - Frederick Douglass"

"[after subduing a group of terrorists] I'm Lt. Frank Drebin, Police Squad! And don't ever let me catch you guys in America!"

"My name is Sgt. Frank Drebin, Detective Lieutenant Police Squad."

"It's true what they say: Cops and women don't mix. It's like eating a spoonful of Drano. Sure, it'll clean you out, but it'll leave you hollow inside."

"Leslie Nielsen as Lt. Frank Drebin"

"Priscilla Presley as Jane Spencer"

"Ricardo Montalbán as Vincent Ludwig"

"George Kennedy as Capt. Ed Hocken"

"O. J. Simpson as Det. Nordberg"

"Man is born crying. When he has cried enough, he dies."

"Why stay with this mad old man? If the rock you stay on starts to roll, jump clean. Or you'll go with it and be squashed. Only a fool stays aboard."

"The failed mind sees the heart's failings."

"In a mad world, only the mad are sane!"

"He gives away his house, He gives away his lands, He now holds a new title: 'Lord of the rice fields' a scarecrow!"

"Does a traitor betray himself?"

"Men prefer sorrow over joy... suffering over peace!"

"What I was trying to get at in Ran, and this was there from the script stage, was that the gods or God or whoever it is observing human events is feeling sadness about how human beings destroy each other, and powerlessness to affect human beings' behavior."

"Tatsuya Nakadai - Lord Hidetora Ichimonji"

"Akira Terao - Taro Takatora Ichimonji"

"Jinpachi Nezu - Jiro Masatora Ichimonji"

"Daisuke Ryu - Saburo Naotora Ichimonji"

"Mieko Harada - Lady Kaede"

"Yoshiko Miyazaki - Lady Sue"

"Hisashi Igawa - Shuri Kurogane"

"Pîtâ - Kyoami"

"Masayuki Yui - Tango Hirayama"

"Kazuo Katô - Kageyu Ikoma"

"Norio Matsui - Shumenosuke Ogura"

"Toshiya Ito - Mondo Naganuma"

"Kenji Kodama - Samon Shirane"

"You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now I'm not some grungy wannabe filmmaker that's searching for existentialism through a haze of bong smoke or something. No, it's easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as "prose". No, I'm talking about the lack of realism. Realism; not a pervasive element in today's modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino's best work, short of Scarface and Godfather Part 1, of course. Masterpiece of directing, easily Lumet's best. The cinematography, the acting, the screenplay, all top-notch. But... they didn't push the envelope. Now what if in Dog Day, Sonny REALLY wanted to get away with it? What if - now here's the tricky part - what if he started killing hostages right away? No mercy, no quarter. "Meet our demands or the pretty blonde in the bellbottoms gets it the back of the head." Bam, splat! What, still no bus? Come on! How many innocent victims splattered across a window would it take to have the city reverse its policy on hostage situations? And this is 1976; there's no CNN, there's no CNBC, there's no internet! Now fast forward to today, present time, same situation. How quickly would the modern media make a frenzy over this? In a matter of hours, it'd be biggest story from Boston to Budapest! Ten hostages die, twenty, thirty; bam bam, right after another, all caught in high-def, computer-enhanced, color corrected. You can practically taste the brain matter. All for what? A bus, a plane? A couple of million dollars that's federally insured? I don't think so. Just a thought. I mean, it's not within the realm of conventional cinema... but what if?"

"I have been told that the best crackers in the world can do this under 60 minutes but unfortunately I need someone who can do this under 60 seconds."

"It's kinda like masturbation without the payoff."

"Stanley: Nothing is impossible."

"Axel Torvalds: He exists in a world beyond your world. What we only fantasize, he does. He lives a life where nothing is beyond him. But you know what? It's all a facade. For all his charm and charisma, his wealth, his expensive toys... he's a driven, unflinching, calculating machine. He takes what he wants, when he wants... and disappears."

"Ginger: Surprised that a girl with an IQ over seventy can give you a hard on?"

"Log on. Hack in. Go anywhere. Steal everything."

"Once you know the password you can go anywhere."

"Log In. Log Out. Leg It!"

"Password Accepted"

"Log On. Hack In. Go Anywhere. Get Everything."

"John Travolta — Gabriel Shear"

"Hugh Jackman — Stanley Jobson"

"Halle Berry — Ginger Knowles"

"Don Cheadle — Agent J.T. Roberts"

"Sam Shepard — Senator James Reisman"

"Vinnie Jones — Marco"

"Flash, I love you! But we only have fourteen hours to save the Earth!"

"Keeping our word is one of the things that make us better than you."

"I'd much rather see you on my side, than scattered into... atoms."

"Pathetic earthlings. Hurling your bodies out into the void, without the slightest inkling of who or what is out here. If you had known anything about the true nature of the universe, anything at all, you would've hidden from it in terror."

"Are your men on the right pills? Maybe you should execute their trainer! [to Klytus, as Flash successfully battles palace guards]"

"[from the trailer] Pathetic earthlings... who can save you now?"

"Open fire! All weapons, now! Charge the lightning field! I take personal responsibility in the Emperor's name!"

"We're going to empty your memory as we might empty your pockets... Doctor."

"Confess!... and we won't hurt you. We don't like doing this at all!"

"We do not lead traitors to the Imperial presence."

"[to Flash] Welcome back from the grave. [Princess Aura] I knew you were up to something, though I'll confess I never thought of necrophilla."

"[to Flash] Where you go, I follow. [then to all] Listen to me! Listen! There is something finer in this galaxy than Ming's law!"

"Tell me more about this man Houdini. [to Zarkov, while blindfolded and manacled to a dungeon wall]"

"[brandishing a laser rifle at some technicians] FREEZE you bloody bastards! Deactivate the lightning field!"

"We owe everything to Flash!"

"You know Ming's law, Barin. Outside his own kingdom, the hunter becomes the hunted."

"Gordon's alive?! [on learning that Flash survived the Imperial assault]"

"Flying blind on a rocket cycle?"

"That must be one hell of a planet you men come from!"

"Squadron 40! DIVE!"

"Impetuous boy! Ah, well... who wants to live forever? DIVE! (youtube.com)"

""All creatures will make merry" ~ First banner"

""Under pain of Death" ~ Second banner"

"He'll save every one of us!"

"Pathetic earthlings... Who can save you now?"

"For years, he's been the last word in professional football. Now, he's Earth's only chance for a future."

"Sam J. Jones – Flash Gordon"

"Melody Anderson – Dale Arden"

"Max von Sydow – The Emperor Ming"

"Topol – Dr. Hans Zarkov"

"Ornella Muti – Princess Aura"

"Timothy Dalton – Prince Barin"

"Brian Blessed – Prince Vultan"

"Peter Wyngarde – Klytus"

"Mariangela Melato – Kala"

"Just cause people wanna eat the burger doesn't mean they wanna meet the cow."

"You're not real. You're copies of people out here in the world."

"I just want to live. I don't care how."

"You still think there's an Island?"

"(while she and Lincoln are kissing) I've finally found The Island, Tom. It's you."

"The Island is real. It’s us"

"[opening lines] "The future has not been written. There is no fate but what we make for ourselves." I wish I could believe that. My name is John Connor. They tried to murder me before I was born. When I was 13, they tried again. Machines from the future. Terminators. All my life my mother told me the storm was coming - Judgment Day, the beginning of a war between man and machines. Three billion lives were vanished in an instant. And I would lead what was left of the human race to ultimate victory. It hasn’t happened, no bombs fell, computers didn’t take control. We stopped Judgment Day. I should feel safe. But I don’t. So I live off the grid, no phone, no address. No one and nothing can find me. I’ve erased all connections to the past. But as hard as I try, I can't erase my dreams. My nightmares."

"[waking up from his nightmares] I feel the weight of the future bearing down on me. A future I don't want. So I keep running...as fast as I can...anywhere...nowhere..."

"[last lines] By the time SkyNet became self-aware it had spread into millions of computer servers all across the planet. Ordinary computers in office buildings, dorm rooms, everywhere. It was software, in cyberspace. There was no system core. It could not be shut down. The attack began at 6:18 P.M. just as he said it would. Judgment Day. The day the human race was nearly destroyed by the weapons they built to protect themselves. I should have realized our destiny was never to stop Judgment Day; it was merely to survive it. Together. The Terminator knew. He tried to tell us, but I didn't want to hear it. Maybe the future has been written. I don't know. All I know is what the Terminator taught me. Never stop fighting. And I never will. The battle has just begun."

"Arnold Schwarzenegger - The Terminator"

"Nick Stahl - John Connor"

"Claire Danes - Catherine Brewster"

"Kristanna Loken - T-X"

"David Andrews - Lt General Robert Brewster, USAF"

"Next summer, the Machines will Rise."

"The Machines Will Rise."

"[from trailer] Judgment Day is upon us [..] and our last hope in the war against the machines is one of them."

""In one word : Great. There was a small part of me that hoped it wasn't good - but another part of me hope'd it succeeded. And it did. And I'm so glad it did. Jonathon's made a great movie. Arnold's in great form. I really like what he's done with it". If he had done it, would he have handled it differently: "Yes. That's only natural. I mightn't have structrued it the same, nor may I have ended it the same way - but coming in where he has, such a hard thing to do, and I give Jonathan points for it"."

"[Fighting Cooke] I eat Green Berets for breakfast and right now, I'm very hungry!"

"All that matters to me now is Jenny."

"[Before fighting Bennett] C'mon, Bennett, let's party!"

"[After throwing a pipe through him with steam coming out of it] Let off some steam, Bennett."

"[Cooke says, "Fuck you, asshole", but discovers his gun is empty] Fuck you, asshole."

"You're a funny guy, Sully. I like you. That's why I'm going to kill you last."

"[Dangling Sully over the cliff] Listen. Loyalty is very touching, but it is not the most important thing in your life right now. But what IS important is GRAVITY! I have to remind you, Sully: This is my weak arm!"

"[to Cindy after dropping Sully off a cliff] I let him go."

"[After breaking Henrique's neck on the plane] Don't disturb my friend. He's dead tired."

"[After killing Cooke] We'll take Cooke's car. He won't be needing it."

"¿Cómo estás?"

"[Activating the seaplane] Come on, you piece of shit! Fly or DIE!!"

"[After activating the seaplane] Works every time."

"[hearing explosions] Welcome back, John. So glad you could make it!"

"John, I'm not going to shoot you between the eyes, I'm going to shoot you between the balls!"

"They offered me a hundred grand. You want to know something? When I found out I could get my hands on you, I said I'd do it for nothing."

"John, stick your head out, one shot, right between the eyes, I'll make it quick, just for old time sake."

"Ever since you had me thrown out of your unit, I've waited to pay you back. Do you know what today is Matrix?... Pay day!"

"John!.. I'll be ready, John!"

"CATCH... YOU!!!"

"John, I feel good!"

"NO - Not daddy..."

"What does it feel like to be a dying man?... you're a dead man, John!"

"Tranquilizers... I wanted to use the real thing!!"

"You're getting old, John. You're getting old."

"I can beat you! I don't need the girl! I DON'T NEED THE GIRL! I don't need the gun, John! I can beat you! I DON'T NEED NO GUN! I'M GONNA KILL YOU NOW!"

"Not nearly as nice as watching him smash your face in."

"Got a warrant?"

"Hey there."

"(Looking at a lavender sweater) I'm not a big fan of really the entire turquoise color tree."

"What is that Army helicopter doing here? You said you wouldn't go away again. You said you were done."

"Dad, that is so old."

"Is it bad?"

"(In response to "What's in this?", referring to a sandwich) You don't wanna know."

"(General Kirby asks her to let him talk to John in private) No way, Jose"

"If there's a mission that no man could survive...then he's the man for the job."

"Let's Party!"

"Somewhere... somehow... someone's going to pay."

"[from TV spot] The odds are unbeatable... but he's unstoppable."

"Arnold Schwarzenegger - Col. John Matrix"

"Rae Dawn Chong - Cindy"

"Dan Hedaya as Arius"

"Vernon Wells - Bennett"

"James Olson - Gen. Franklin Kirby"

"David Patrick Kelly - Sully"

"Alyssa Milano - Jenny Matrix"

"Bill Duke - Cooke"

"Bill Paxton - Interceptor"

"Drew Snyder - Lawson"

"Sharon Wyatt - Leslie"

"Michael DeLano - Forrestal"

"Bob Minor - Jackson"

"Mike Adams - Harris"

"Carlos Cervantes - Diaz"

"Lenny Juliano - Soldier"

"Charles Meshack - Henriques"

"Reap the whirlwind, Sheriff Brady. Reap it."

"If we're caught, we're gonna hang... But there's many a slip twixt the cup and the lip."

"You know, Sir, I do admire you, and I sure would like to touch the gun that's gonna kill Billy the Kid."

"Reap it, Murphy, you son of a bitch."

"Hey Colonel shit head, you can kiss my ass!""

"REGULATORS, MOUNT UP!"

"Papers can't do anything right."

"Regulators, we regulate any stealing of his property and we damn good too. But you can't be any geek off the street, gotta be handy with the steel if you know what I mean, earn your keep!"

"Did you know pigs is as smart as dogs? It's true. I knew this fella in El Capitan who taught his pig to bark at strangers."

"Hey, you ain't no regulator, boy. You just stay here with the pork. They're smarter than you anyway; you might learn something."

"I'm not a pistoleer or a knifesmith like that greaser Chavez Chavez over there. I'm a pugilist."

"It ain't easy having pals."

"Six reasons why the west was wild."

"Don't count the odds, count the bodies."

"The odds were a hundred to one."

"Emilio Estevez - William H. "Billy the Kid" Bonney"

"Kiefer Sutherland - Josiah Gordon "Doc" Scurlock"

"Lou Diamond Phillips - Jose Chavez y Chavez"

"Charlie Sheen - Richard "Dick" Brewer"

"Dermot Mulroney - "Dirty Steve" Stephens"

"Casey Siemaszko - Charlie Bowdre"

"Terence Stamp - John Turnstall"

"Jack Palance - Lawrence Murphy"

"Terry O'Quinn - Alexander McSween"

"Sharon Thomas - Susan McSween"

"Geoffrey Blake - J. McCloskey"

"Brian Keith as Buckshot Roberts"

"Patrick Wayne - Pat Garrett"

"The Fastest Hands In The East Meet The Biggest Mouth In The West."

"Pals Forever. If they can get past today."

"They come from different cultures. But on a case this big, they speak the same language."

"Jackie Chan as Chief Inspector Lee"

"Chris Tucker as Detective James Carter"

"Tom Wilkinson as Griffin / Juntao"

"Tzi Ma as Consul Han"

"Julia Hsu as Soo Yung"

"Chris Penn as Clive"

"Yang Lin as Consul Secretary"

"I tell you, gentlemen, we have a problem on our hands. Thanks to the Japanese, we now command a rabble. There's no order, no discipline. Our task is to rebuild the battalion. It isn't going to be easy, but fortunately, we have the means at hand, the bridge...We can teach these barbarians a lesson in Western methods and efficiency that will put them to shame. We'll show them what the British soldier is capable of doing...It's going to be a proper bridge. Now here again, I know the men. It's essential that they should take a pride in their job."

"[To Clipton, after Clipton questions the bridge's construction] One day the war will be over. And I hope that the people that use this bridge in years to come will remember how it was built and who built it. Not a gang of slaves, but soldiers, British soldiers, Clipton, even in captivity."

"[To Saito, after the bridge is finished] I've been thinking. Tomorrow it will be 28 years to the day that I've been in the service. 28 years in peace and war. I don't suppose I've been at home more than ten months in all that time. Still, it's been a good life. I love India. I wouldn't have had it any other way. But there are times when suddenly you realise you're nearer the end than the beginning. And you wonder, you ask yourself, what the sum total of your life represents, what difference your being there at any time made to anything, or if it made any difference at all really. Particularly in comparison with other men's careers. I don't know whether that kind of thinking is very healthy, but I must admit I've had some thoughts on those lines from time to time. But tonight—tonight!"

"[on feeling down] It is quite understandable. It's a very natural reaction. But one day, in a week, a month, a year, on that day when God willing, we all return to our homes again, you're going to feel very proud of what you have achieved here in the face of great adversity. What you have done, should be, and I think will be, an example to all our countrymen, soldier and civilian alike. You have survived with honour, that and more: here in the wilderness, you have turned defeat into victory. I congratulate you. Well done."

"What have I done?"

"Here lies Corporal Herbert Thompson, serial number 01234567, valiant member of the King's own, and Queen's own, or something, who died of beriberi in the year of our Lord 1943. For the greater glory of...[pause] what did he die for?...I don't mock the grave or the man. May he rest in peace. He found little enough of it while he was alive."

"Mostly Aussies, some Lime, some British, Indians, Burmese, Siamese...They died, of malaria, dysentery, beriberi, gangrene. Other causes of death: famine, overwork, bullet wounds, snake bites, Saito. And then there were some who just got tired of living."

"[watching the British prisoners walk into the camp] We're going to be a busy pair of gravediggers."

"[speaking to Nicholson for the first time] I am Colonel Saito. [to the British prisoners] In the name of His Imperial Majesty, I welcome you. I am the commanding officer of this camp, which is Camp 16 along the great railroad which will soon connect Bangkok with Rangoon. You British prisoners have been chosen to build a bridge across the River Kwai. It will be pleasant work, requiring skill, and officers will work as well as men. The Japanese Army cannot have idle mouths to feed. If you work hard, you will be treated well, but if you do not work hard, you will be punished! A word to you about escape: there is no barbed wire, no stockade, no watch tower. They are not necessary. We are an island in the jungle. Escape is impossible. You would die. Today you rest. Tomorrow you will begin. Let me remind you of General Yamashita's motto: be happy in your work. Dismissed!"

"Attention, English prisoners! Notice I do not say "English soldiers". From the moment you surrendered, you ceased to be soldiers. You will finish the bridge by the twelfth day of May. You will work under the direction of a Japanese engineer, Lieutenant Miura. Time is short. All men will work. Your officers will work beside you. This is only just. For it is they who betray you by surrender. Your shame is their dishonour. It is they who told you: 'Better to live like a coolie than die like a hero.' It is they who brought you here, not I. Therefore, they will join you in useful labour. That is all."

"[after Nicholson objects to the above speech by trying to point out what the Geneva Convention specifies] You speak to me of code? What code?! The Coward's Code! What do you know of the Soldier's Code? Of Bushido? Nothing! You are unworthy of command!"

"I hate the British! You are defeated, but you have no shame. You are stubborn, but have no pride. You endure, but you have no courage. I hate the British!"

"The fact is, what we're doing could be construed as, forgive me sir, collaboration with the enemy. Perhaps even as treasonable activity...Must we work so well? Must we build them a better bridge than they could have built for themselves?"

"Is this your soldier's code? Murdering unarmed men?"

"Alec Guinness - Col.Nicloson"

"William Holden - Cmdr. Shears"

"Jack Hawkins - Maj. Warden"

"Sessue Hayakawa - Col. Saito"

"James Donald - Maj. Clipton"

"Geoffrey Horne - Lt. Joyce"

"Ann Sears - Nurse at Siamese hospital"

"Heihachiro Okawa - Capt. Kanematsu"

"Keiichiro Katsumoto - Lt. Miura"

"Earth has a deadline"

"In a year, everyone on Earth is dead."

"The only way out... is in."

"Say it with me: "I don't know.""

"Aaron Eckhart — Josh"

"Hilary Swank — Beck"

"Delroy Lindo — Brazzelton"

"Stanley Tucci — Zimsky"

"D. J. Qualls — Rat"

"Richard Jenkins — General Purcell"

"Tcheky Karyo — Serge"

"Bruce Greenwood — Commander Robert Iverson"

"Alfre Woodard — Stickley"

"Nature is about balance. All the world comes in pairs. Yin and Yang. Right and Wrong. Men and Women. What's pleasure without pain."

"Some things were not meant to be found."

"I'm not leaving because I couldn't kill you. I'm leaving because I could."

"[Lara pulls out a key] What? Key to your heart?"

"[Walking up a hill] And don't be looking at my ass."

"Angelina Jolie - Lara Croft"

"Gerard Butler - Terry Sheridan"

"Ciarán Hinds - Jonathan Reiss"

"Chris Barrie - Hillary"

"Noah Taylor - Bryce"

"Djimon Hounsou - Kosa"

"[This scene is intercut with scenes of the MCP addressing its captive Programs, and of Flynn and Yori steering Sark's ship toward the MCP.]"

"In the future video games battles will be a matter of life and death."

"The Electronic Gladiator"

"Trapped in a fight to the finish inside the video world he created. [UK theatrical]"

"A world inside the computer where man has never been before. Never before now."

"On the other side of the screen, it all looked so easy..."

"Trapped inside an electronic arena, where love, and escape, do not compute!"

"When hacker Kevin Flynn (Jeff Bridges) first got zapped inside a computer grid in Tron, the digitized ether was a much simpler place. Black, minimalist, streaked with neon piping and floaty geometric figures, it was home to enslaved "programs" who played deadly gladiatorial games (Frisbee, Jai-alai) at the whim of an evil operating system with a giant Lego head. Everyone wore dorky uniforms. There was no downtown, no crowded arenas, no nightlife and certainly no drunken hobos."

"The addition of that stately "legacy" to the title strains to confer a retrospective classic status on Disney's virtual reality sci-fi thriller from 1982, about people trapped in a computer game and forced to engage in gladiatorial combat. It might have come as a surprise to some that Tron had much of a legacy; the film was overshadowed by Spielberg's ET in that year, and in the UK suffered the mortification of being upstaged by Peter Greenaway's The Draughtsman's Contract. Yet a generation grew up prizing Tron for being audacious, ahead of its time, a futurist trailblazer about games culture and the digital world."

"The interior of a computer is a fine and private place, but none, I fear, do there embrace, except in "Tron," a dazzling movie from Walt Disney in which computers have been used to make themselves romantic and glamorous. Here's a technological sound-and-light show that is sensational and brainy, stylish, and fun."

"In an age of amazing special effects, "Tron" is a state-of-the-art movie. It generates not just one imaginary computer universe, but a multitude of them. Using computers as their tools, the Disney filmmakers literally have been able to imagine any fictional landscape, and then have it, through an animated computer program. And they integrate their human actors and the wholly imaginary worlds of Tron so cleverly that I never, ever, got the sensation that I was watching some actor standing in front of, or in the middle of, special effects. The characters inhabit this world."

"There is one additional observation I have to make about "Tron," and I don't really want it to sound like a criticism: This is an almost wholly technological movie. Although it's populated by actors who are engaging (Bridges, Cindy Morgan) or sinister (Warner), it is not really a movie about human nature. Like "Star Wars" or "The Empire Strikes Back," but much more so, this movie is a machine to dazzle and delight us. It is not a human-interest adventure in any generally accepted way. That's all right, of course. It's brilliant at what it does, and in a technical way maybe it's breaking ground for a generation of movies in which computer-generated universes will be the background for mind-generated stories about emotion-generated personalities. All things are possible."

"The original TRON, in which Jeff Bridges’ hacker Kevin Flynn is sucked into a computer game of his own devising, was significant more for what it attempted than what it achieved. Created in the pre-dawn of computer graphics, it pointed to a rapidly approaching world where, to use TRON lingo, “the digital frontier would shape the human condition.” As dumb as the tech-heavy script was, and as primitive as the graphics were (today they look like an animated black light painting), the picture was undeniably savvy about the future. It was almost there and ahead of most of the rest of us: TRON came out two years before the Macintosh computer debuted and about a dozen years before the Internet went public."

"“Tron” has influenced CGI animators worldwide. In fact, Disney/Pixar’s John Lasseter has acknowledged that “Without ‘Tron,’ there would be no ‘Toy Story.’” But back in 1982, not only did “Tron” receive mixed reviews from critics and audiences, Hollywood didn’t welcome the film, which paid homage to “The Wizard of Oz” and “Metropolis,” with open arms."

"“I say the lesson that one learns is that you pay the price for going against the status quo,” he admitted. “It’s difficult to emphasize enough how terrified of computers and technology people were, and Hollywood in particular. The threat that ‘Tron’ represented was that somehow computers were going to get involved with movie making and that they were going to get involved with our lives.” And Hollywood was shocked it was Disney that was “suggesting” that computers were going to be part of everyone’s lives. “When I think about Disney, I always think about how they provide nostalgia and a certain amount of comfort that comes from nostalgia. It’s interesting to see how over the decades ‘Tron’ has now gained a patina of nostalgia. In that sense it’s become more of a Disney film now then it was back then. It was very upsetting to people that Disney crossed the line and did something for which there was no precedent.”"

"TRON means to be a gloriously puerile movie, the full-fledged screen embodiment of a video game. It even means to go to the heart of video gamesmanship, and its premise is very promising in its way. What if those tiny Space Invaders and Pac-Men were real creatures, miniature gladiators sent to do battle for the amusement of their heartless captors?"

"There are almost no scenes that don't depend heavily on special effects -effects added after the acting was done. How can the performers keep from seeming as if they're acting in a void? Anyone not discouraged by these drawbacks will find Tron a wonder to behold. Its computer sequences exist in a blue-gray scheme filled with flashing lights, speeding objects and dizzying motion. Its special effects are wonderfully new. They are also numbing after a while. And how could they not be? They're loud, bright and empty, and they're all this movie has to offer."

"The film would never come close to an Oscar, but that doesn’t make it unimportant. Nobody talks about cyberspace anymore—sci-fi writer William Gibson had just coined the term when Tron came out. But that’s what the movie gave shape to—a “consensual hallucination,” as Gibson wrote, “bright lattices of logic unfolding across that colorless void.” Though Gibson says he had an entirely different look in mind. “An issue of Omni magazine that contained one of my earliest cyberspace stories also contained a preview of Tron,” he says. “If Disney was into that stuff, I thought, I wasn’t even remotely ahead of the curve.”"

"As Tron evolved, it became more of an oddball project. “We were a threat to the animation department. We were a threat to the special effects department. We were a threat to conventional live-action,” Lisberger says. Star Wars made a kind of sense, with its knights and princesses. But combine the avant-garde production design of Tron (and multiple outside contractors doing CG) with what turned into a very religious script about living “programs” trying to commune with godlike “users” in the real world? In the actual real world, hardly anyone had ever touched a computer. You can see how that story would seem strange."

"Computer-generated monsters, from the trolls in “Harry Potter” and “Lord of the Rings” to the dinosaurs in the “Jurassic Park” movies, have replaced stop-motion puppets and men in rubber suits. But the idea that the lightcycles Tron and Flynn ride existed only on film and in computer memory banks dumbfounded people two decades ago."

"“Tron” may have exerted its greatest influence through its crew of young artists who have gone on to do important work in animation and special effects: Tim Burton (director of “Planet of the Apes,” “Ed Wood,” “Edward Scissorhands”), Roger Allers (co-director of “The Lion King”), Barry Cook (co-director of “Mulan”), Dennis Edwards (producer of “Osmosis Jones”), Andy Gaskill (art director of “The Lion King”), Bill Kroyer (director of “Fern Gully: The Last Rainforest”), Jerry Rees (director of “The Brave Little Toaster”)."

"Jeff Bridges - Kevin Flynn/Mr. Codified Likeness Utility "Clu""

"Bruce Boxleitner - Dr. Alan T. Bradley/Mr. Tron JA-307020"

"David Warner - Edward "Ed" Dillinger, Sr./Commander System Analytics and Reporting Kernel "Sark" ES-1117821/Master Control Program "MCP-751" 751"

"Cindy Morgan - Lora Baines/Princess Yori"

"Barnard Hughes - Dr. Walter Gibbs, Ph.D./Mr. Dumont"

"At midnight on New Year's Eve, the S.S. Poseidon, en route from New York to Athens, met with disaster and was lost. There were only a handful of survivors. This is their story....."

"[Appealing to the survivors in the ballroom]: I wanna appeal to you the last time. I know this much; the sea's gonna keep pouring in, we're gonna keep settling deeper and deeper, we may even go under before we get up to the bottom to cut our way out! But it's something to try, it's a chance, we might make it. You stay here, you'll certainly die!"

"[Angry at the Doctor for leading his group of 44 the wrong way]: You're going the wrong way, DAMMIT! The BOW'S UNDERWATER!"

"[Sees a blast of steam blocking the last way out, yells in frustration] What more do You want of us?! We've come all this way, no thanks to You! We did it on our own, with no help from You! We did ask You to fight for us, but dammit, DON'T FIGHT AGAINST US! LEAVE US ALONE! How many more sacrifices?! HOW MUCH MORE BLOOD?! [jumps to the steam valve, the steam on the valve's wheel searing his hands, but he holds on] How many more lives?! [turns the wheel of the valve, despite the pain] Belle wasn't enough, Acres wasn't, now this girl?! You want another life, then TAKE ME! [the valve finally closes, clearing the final obstacle.] You can make it. Keep going, Rogo! Get them through! [lets go of the wheel and falls into the flaming water to his death]"

"[To Reverend Scott after Linda has fallen off a catwalk to her death]: You! Preacher! You lyin', murderin' son of a bitch! You almost suckered me in! I started to believe in your promises, that we had a chance! What chance? You took from me the only thing I ever loved in the whole world, my Linda. YOU KILLED HER!! [Rogo breaks down]: You killed her."

"I'm going next. So if old fat ass gets stuck in there, I won't get stuck behind her."

"You see, Mr. Scott? In the water, I'm a very skinny lady."

"Hell, Upside Down."

"At midnight on New Year's Day the S.S. Poseidon was struck by a 90-foot tidal wave and capsized."

"Who will survive in one of the greatest escape adventures ever!"

"Combining the talents of fifteen Academy Award Winners."

"Gene Hackman - Rev. Frank Scott"

"Ernest Borgnine - Det. Lt. Mike Rogo"

"Red Buttons - James Martin"

"Carol Lynley - Nonnie Parry"

"Roddy McDowall - Acres"

"Stella Stevens - Linda Rogo"

"Shelley Winters - Belle Rosen"

"Jack Albertson - Manny Rosen"

"Pamela Sue Martin - Susan Shelby"

"Arthur O'Connell - Chaplain John"

"Eric Shea - Robin Shelby"

"Leslie Nielsen - Captain Harrison"

"Vengeance isn't true power. Anyone can take a life. Giving life is true power, the power you once had."

"Hey Freeze, the heat is on!!"

"Why are all the beautiful ones homicidal maniacs? Is it me?"

"There is no defeat in death, Master Bruce. Victory comes in defending what we know is right while we still live."

"I'll cancel the pizzas!"

"We're going to need a bigger cave."

"As I told Lady Freeze when I pulled her plug, "This is a one woman show"."

"There's something about an anatomically correct rubber suit that puts fire in a girl's lips."

"It took God seven days to create paradise. Let's see if I can do better."

"Men, the most absurd of God's creatures. We give you life... and we can take it away just as easily."

"Sorry, my vines have a crush on you!"

"I'm a lover not a fighter, which is why every Poison Ivy action figure comes with him! [gestures to Bane]"

"I am Nature's arm. Her spirit. Her will. Hell, I am Mother Nature, and the time has come for plants to take back the world so rightfully ours! 'cause it's not nice to fool with Mother Nature."

"Kiss me and I'll tell you."

"One kiss...my love...for luck."

"Freeze in hell, Batman!"

"Freeze well."

"Let's kick some ice!"

"Grab the gem! Kill the heroes! Yes! Yes! Kill them!"

"The Ice Man cometh!"

"Allow me to break the ice. My name is Freeze. Learn it well, for it is the chilling sound of your doom!"

"What killed the dinosaurs? The Ice Age!"

"Can you feel it coming? The icy cold of space. At 30,000 feet, your heart will freeze and beat no more."

"I hate when people talk during the movie."

"Alright everyone! Chill."

"In this universe, there is only one absolute: Everything freezes."

"No matter what they tell you, Mr. Bane, it is the size of your gun that counts."

"You're not sending me to the cooler!"

"I hate uninvited guests."

"If revenge is a dish best served cold, then put on your Sunday finest: It's time to feast!"

"[freezes Robin] Stay cool, Birdboy."

"Dare to be cold, Batman?"

"Tonight's forecast: A Freeze is coming!"

"After you're frozen, your icy tomb will plummet back to Gotham."

"A laundry service that delivers. Wow!"

"I hope Mr. Bane can swim."

"I just thought the last one had been successful, so I thought I was just going to be in a big, successful franchise movie. [And] in a weird way I was. Batman is still the biggest break I ever had and it completely changed my career, even if it was weak and I was weak in it. It was a difficult film to be good in. I don't know what I could have done differently. But if I am going to be Batman in the film Batman & Robin, I can't say it didn't work and then not take some of the blame for that."

"I was in a rubber suit. I had rubber nipples. I could have played him straight but I didn't. I made him gay."

"Because of my love for the world of Batman, I went to Joel Schumacher's Batman & Robin with real anticipation. I got thrilled all over again by the Gothic towers of Gotham City. I was reminded of how cool the Batmobile is (Batman has a new one), and I smiled at the fetishistic delight with which Batman and Robin put on their costumes, sheathing themselves in shiny black second skins and clamping on lots of belts, buckles, shields, hooks, pulleys, etc. (How much does that stuff weigh? How do they run while they're wearing it?) But my delight began to fade at about the 30-minute mark, when it became clear that this new movie, like its predecessors, was not *really* going to explore the bizarre world of its heroes, but would settle down safely into a special effects extravaganza. Batman & Robin, like the first three films in the series, is wonderful to look at, and has nothing authentic at its core."

"Listening to Schwarzenegger's one-liners ("The iceman cometh!"), I realized that a funny thing is happening to the series: It's creeping irresistibly toward the tone of the 1960s TV show. The earlier Batman movies, especially the dark Batman Returns (1992), made a break with the camp TV classic and went for moodier tones. But now the puns and punchlines come so fast the action has to stop and wait for them. Although we don't get the POW! and WHAM! cartoon graphics, this fourth movie seems inspired more by the TV series than the Bob Kane comic character."

"What I'll remember from the film are some of the images, such as the Gotham Observatory, which is inside a giant globe held aloft far above the city streets by a towering statue in the Grecian style. And I will remember Mr. Freeze sadly looking at a little music-box figure of his wife. And Alfred poignantly searching his family tree on his computer. And Ivy's leafy eyebrows. My prescription for the series remains unchanged: scale down. We don't need to see $2 million on the screen every single minute. Give the foreground to the characters, not the special effects. And ask the hard questions about Bruce Wayne. There is a moment in the film where we learn that the new telescope in the Gotham Observatory can look at any place on Earth. "Just don't point it at my bedroom", Bruce Wayne chuckles. What is he chuckling about?"

"Joel [Schumacher] would sit on a crane with a megaphone and scream before each take, 'Remember, everyone, this is a cartoon'. It was hard to act because that kind of set the tone for the film."

"It's as if Clooney didn't spend any time figuring out what makes Batman tick. This is a rich man who is so weird and troubled that he dresses like a bat and chases criminals every night for years and years. Would a normal person do that? The rubber suit alone should have been the tip-off. This guy has problems."

"At a gala in Gotham City, the fabulous Poison Ivy makes her entrance in a fluffy magenta gorilla suit made from 450 Santa Claus wigs. Then she peels this off slowly as the band plays her theme song. And out comes the most show-stopping character in Batman and Robin, the fourth and most frenetically gaudy feature in the series. As played by Uma Thurman, Poison Ivy is perfect, flaunting great looks, a mocking attitude and madly flamboyant disguises. Like Mae West, she mixes true femininity with the winking womanliness of a drag queen. Poison Ivy captures the essence of Batman and Robin, a wild, campy costume party of a movie and the first Batman to suggest that somewhere in Gotham City there might be a Studio 54. Joel Schumacher, director and ringmaster, piles on the flashy showmanship and keeps the film as big, bold, noisy and mindlessly overwhelming as possible. In this context, it's not surprising that even the opening credit sequence is at fever pitch. The movie begins with Batman and Robin caught up in a crazed hockey match, taking off on a rocket and then surfing through space."

"[The costume] was made by Jose Fernandez, who was our brilliant lead sculpture. If you look at Batman and Batman Returns, it was the genius, Bob Ringwood who created those suits, so by the time we got to Batman Forever, the rubber and techniques had gotten so sophisticated. If you look at when Michael Keaton appears in the first suit, you'll notice how large it is. It was brilliant but the best they could do at the time. By the time Batman Forever came around, rubber molding had become so much more advanced. So I said, let's make it anatomical and gave photos of those Greek statues and those incredible anatomical drawings you see in medical books. He did the nipples and when I looked at them, I thought, that's cool."

"There was a lot of pressure from Warner Bros. to make Batman & Robin more family-friendly. We decided to do a less depressing Batman movie and less torture and more hero. I know I have been criticized a lot for this, but I didn't see the harm in that approach at all."

"If there's anybody watching this, that... let's say, loved Batman Forever, and went into Batman & Robin with great anticipation, if I've disappointed them in any way, then I really want to apologize. Because it wasn't my intention. My intention was just to entertain them."

"A film that boasts 10 Bat weapons specific enough to be mentioned in the press notes (plus four different "Batarangs") yet considers lines like "Freeze, you're mad" to be acceptable dialogue, Batman & Robin lives and dies by the aesthetic of excess, the familiar idea that anything worth doing is worth overdoing. You may admire its surface, but it is far too slick for even a toehold's worth of connection. While it would take more time than it's worth to list all the wrinkles of the film's Akiva Goldsman plot, Batman & Robin has the eerie feeling of having no beginning, no middle and no end. Watching it is like stumbling into the world's longest-coming attractions trailer, or a product reel for a visual effects house."

"[addressing a reporter] Let me tell you something: I'm from Buenos Aires, and I say "Kill 'em all!""

"[eulogizing Dizzy Flores] Somebody asked me if I knew the difference between a citizen and a civilian. I know now. A citizen has the courage to make the safety of the human race their personal responsibility. Dizzy was my friend. She was a soldier. But more than that, she was a citizen of the Federation."

"[to Rico at a party] Figuring things out for yourself is the only freedom anyone really has. Use that freedom."

"Listen up! I expect the best and I give the best. [opens pod and pulls out a beer keg] Here's the beer. [everybody cheers. opens another pod with sports gear and music equipment] Here's the entertainment. [throws football] Have fun. That's an order."

"Hold here! Hold what you got!"

"[to Rico and Carmen after the Brain Bug is finally captured] We've got one of their Brains now. Pretty soon we'll know how they think. One day it will all be over. And everyone will forget that this was the moment. This was when it turned. It wasn't the mighty fleet, it wasn't some fancy new weapon. [they see the now-Private Zim being carried by the soldiers] It was a drill instructor named Zim, who captured a Brain."

"Dizzy Flores: [placating Rico after he fights Xander Barcalow over Carmen] Mobile Infantry and Fleet don't mix."

"Sky Marshall Diennes: [addressing the UCF Federal Council as it agrees to declare war against the Bugs] We must meet this threat with our valor, our blood, indeed with our very lives to ensure that human civilization, not insect, dominates this galaxy now and always!"

"When Paul Verhoeven’s Starship Troopers originally hit cinemas in 1997, the reviews were scathing. The Los Angeles Times’ Kenneth Turan argued that the Dutch director of Robocop, Total Recall and Basic Instinct had delivered a space flick “rigorously one-dimensional and free from even the pretense of intelligence”, even suggesting that the film-maker had preserved the “fascist utopianism” of the 1959 Robert A Heinlein novel that it had been based on. “Troopers takes us to a militaristic future where video bulletins encourage young people to ‘Join the Mobile Infantry and save the world’,” wrote Turan. “Schools teach that ‘violence is the supreme authority’ and nothing solves problems with the efficacy of ‘naked force.’” The Washington Post described Verhoeven’s tone as “so inconsistent that it’s impossible to decide whether he’s sending up the Third Reich or in love with it”."

"“It’s a very rightwing book,” the director told Empire magazine. “And with the movie, we tried, and I think at least partially succeeded, in commenting on that at the same time. It would be ‘Eat your cake and have it.’ All the way through we were fighting with the fascism, the ultra-militarism. All the way through I wanted the audience to be asking, ‘Are these people crazy?’"

"These days Starship Troopers sits easily alongside Verhoeven’s other sci-fi cult classics, Robocop and Total Recall, in a fabulous pantheon of futuristic, satirical silliness. Yes, these movies are violent, bloody, over-the-top and often hammily acted, but the director is very much in on the joke. Only an outsider like Verhoeven could have made films that overtly criticised the knuckleheaded excesses of 1980s and 90s American action cinema, yet somehow did a better job of delivering the era’s trademark trashy bombast than Hollywood itself."

"Like his RoboCop, Verhoeven uses television clips and fake advertisements to take shots at society. But where RoboCop uses these moments to skewer Cold War politics and the American automotive industry, the ones in Troopers are more pointed. They are satirical extremes of military propaganda, showing happy citizens (not civilians), shots of children joyfully holding guns, all while pushing for enrollment into Federal Service. The ads dovetail into the depiction of a Nazi-like regime that is embraced and is working. The allusion to Nazism is so prevalent and over the top - from costuming to the use of a Nazi Eagle like symbol - that it clearly is satire to show the dangers of extremist policies, which somehow blew right past the critics of the day. Militarism is another victim of Verhoeven's critical eye. There is no plan for the Federation forces. They are told to go in and kill anything with more than two legs, and when that invariably goes sideways they simply bring in more soldiers. The graphic scenes of the dead are an unwavering display of the horrors of war, a visual representation of the dangers of unchecked policy. The real kicker comes at the end. Whereas other films would have the main characters learn about the dark side of their leadership, even opting to fight against it, Starship Troopers' protagonists instead become part of the system, a vicious circle where they are now the stars in the propaganda."

"When Starship Troopers was released, critics panned it as a simplistic B-movie. Former film critic Janet Maslin called it “raunchiness tailor-made for teen-age boys” in the New York Times. It’s not a totally unfair description of a movie in which most scenes involve characters being sprayed with lime-green alien guts."

"It’s hard not to draw a parallel with America’s 17-years-and-counting of engagement in the Middle East. What comes after the war? More war. This is a surprisingly radical message for a big budget ($100 million) studio film. “I don’t think that will be done again, a movie like that,” Verhoeven admits over the phone. “It’s so surprising that this was made. I don’t think anyone nowadays would dare to make a movie like that.”"

"Heinlein’s book has been seen to suggest that “the best societies would be run by military dictatorships.” However, Verhoeven described Starship Troopers as “a movie about fascists who aren’t aware of their fascism.”"

"In The New York Times, Janet Maslin complained that the film was nothing more than “crazed, lurid spectacle.” Roger Ebert described it as “totalitarian.” Reading those initial reviews, it seems as though Starship Troopers fell victim to Poe’s Law, the inevitability that at a certain point it becomes impossible to distinguish between an extreme example of a thing and a parody of that thing. Was Starship Troopers fascist propaganda or a parody of fascist propaganda? History has been somewhat kinder to Starship Troopers, as demonstrated by a slew of retrospective pieces that enthusiastically recognized it as “one of the most misunderstood movies ever” and a piece of social commentary that was “way ahead of its time.”"

"The layers that were there—especially with the most political movie, "Starship Troopers." It's never that we thought, We're going to do a representation of the United States as a metaphor. On the other hand, many elements of the movie came from American life ... it was all based on things that were vaguely there in American life. Especially in Texas and stuff like that ... but we never set out to do that. We needed something to put our point of view also there, you know? We don't think this is so great in anyway, this kind of, "let's go to war, let's kill.""

"If I tell the world that a right-wing, fascist way of doing things doesn't work, no one will listen to me. So I'm going to make a perfect fascist world: everyone is beautiful, everything is shiny, everything has big guns and fancy ships, but it's only good for killing fucking bugs!"

"VERHOEVEN: We were making some statements underneath the movie. The peripheral layer is interwoven with the main narrative. It’s very much visible in the newsreels, which are all based on German fascism. I felt that this was talking about upcoming fascism, of course. Even the Germans, I would say 80 to 90 percent of the Germans, when all this happened, didn’t think that it was happening. You see all the newsreels from the streets of Berlin—they’re all of very happy looking guys or girls. They were not aware of the threats, the diabolical deaths underlining the politics of the government. At that point I did not feel, in all honesty, that this was really something of a possibility in the United States. Otherwise we would’ve been prophets."

"VERHOEVEN: We were paraphrasing elements of Riefenstahl movies. Everybody seemed to be sculptures—I wanted these people to be like proto-Nazis, proto-Aryans. Their faces are kind of sculptures. So I thought to choose actors who would have streamlined faces, and certainly Johnny Rico has that. I think that was a necessity to make it believable to myself, the exaggeration. There’s no question, the bugs are fantasy and comic book-y! So if you use those kinds of elements, then you should be careful not to make your caricature around them completely real because they clash! If you have a caricature enemy you can’t have a very realistic protagonist. I think it was necessary to make them two comic book figures, that was the idea."

"VERHOEVEN: It was too difficult; I think they’ve never seen a movie, a really big Star Wars kind of movie with this message. I don’t think they were ready to accept the fact that the film was political. You can see that it was political 15-20 years later, with all that’s happened. People have started to realize that a dominant layer of the movie was political. I thought it was very audacious what we did, but it didn’t pay off very well."

"Starship Troopers has the most rock-dumb and dirt-simple plot of any science fiction feature in recent memory: Humanity is at war with gigantic creepy-crawlies from outer space, and a crew of determined youngsters must do battle with them."

"But try this: Watch Starship Troopers through the lens of somebody in the world in which it’s set. Imagine you’re watching this as a denizen of this legitimately scary society. As Republican candidates for president in 2016 went on about possibly repealing birthright citizenship—a legal precedent established centuries ago that stands unquestioned in nearly every country in the New World—this a movie from 20 years ago paints a perfect picture of what a society without it would look like. The film’s newsreels and secondary characters repeat that “Service Guarantees Citizenship,” meaning that if you voluntarily enlist in the military, you are granted citizenship. Nowhere in this sunny propaganda film of an action movie is there any mention of what not being a citizen means. This is a world where the fascists have already won. All society is geared around and idealizes the military. In the film’s opening scenes, when Johnny and friends are finishing high school, we’re given glimpses into what this is doing to society. Their teachers are disfigured and unhinged war veterans. Michael Ironside plays an amputee who fills his students’ heads with war propaganda, flatly telling them that violence is the solution to political disputes, and maybe you should ask Hiroshima how being a peacenik works out, huh?"

"All fascism is about Us vs. Them at base. The most insidious regimes encourage this enmity not just toward other states, but toward other citizens. It’s in the film’s second reel, when the young cadets all head off to boot camp, that we get a few more details about who is the Us and who is the Them. Some of Johnny’s fellow recruits want to do things like have children or start businesses—but the government regulates all those things and only citizens are allowed, or at least fast-tracked to permission. If you aren’t out there sacrificing your limbs for the military’s dumb wars, you don’t deserve any of society’s other benefits. One of the cadets gives a little shrug—perhaps the same one you did when they imposed the indoor smoking ban in your state. That’s just the way it is now."

"Even 20 years later, very few films’ endings have ever made me so completely question everything preceding them. It didn’t dawn on me the third or even the fifth time I saw this film that the ending is showing us that this has been, as I said before, a propaganda film from the opening shots. Are we seeing a movie that’s actually a dramatization of Johnny’s rise, starring some pampered actor and some disingenuous representation of the bugs? Is this the To Hell and Back of the Starship Troopers universe, with Johnny Rico playing himself, just as Audie Murphy did? I wasn’t old enough to “get” Starship Troopers when I first saw it. I found the violence shocking and off-putting as a teen. It wasn’t until later that the realization of why it’s such an ugly movie caught up with me. As a child, Verhoeven lived next to a Nazi military base in the Netherlands that became a target of allied bombings. The violence in his science fiction films is always brutal, but it’s the sickening sense of the characters being enveloped in a callous world over which they have no control that draws a line under the bullets and blood."

"It’s in Starship Troopers that Verhoeven does his job too well, essentially throwing a desperate warning at the audience that says, “The right action movie director can even make fascism look just this cool, guys.”"

"Genocide doesn't compare to this."

"Prepare for Battle"

"The paratroopers of the future are here... and their enemies aren't HUMAN"

"When you battle 6 trillion enemies that will eat you alive, there are only two rules... EVERYONE FIGHTS. NO ONE QUITS."

"The only good bug is a dead bug"

"Mankind just became an endangered species"

"Forget the insecticide, bring on the nukes!"

"You can't step on these ones"

"In every age there is a cause worth fighting for, but in the future the greatest threat to our survival will not be man at all. Now the youth of tomorrow must travel across the stars to face an enemy more devastating than any ever imagined."

"They came to our planet, they destroyed our cities. But on November 7, they'll learn, they messed with the wrong species."

"This Fall, TriStar Pictures takes you to the front lines of the next frontier."

"Casper Van Dien — Pvt/Cpl/Sgt/2nd Lt Johnny Rico"

"Dina Meyer — Pvt/Cpl Dizzy Flores"

"Denise Richards — LT/CAPT Carmen Ibanez"

"Jake Busey — Private Ace Levy"

"Neil Patrick Harris — Colonel Carl Jenkins"

"Clancy Brown — Career Sergeant Zim"

"Seth Gilliam — Private Sugar Watkins"

"Patrick Muldoon — LT Zander Barcalow"

"Michael Ironside — Lieutenant Jean Rasczak"

"Marshall Bell — General Owen"

"Lenore Kasdorf — Mrs. Rico"

"Aaj khush to bahut hoge tum..."

"Peter tum log mujhe doondh rahe ho aur main tumhara yahaan intezaar kar raha huun."

"Jao jaake pehle us aadmi ka sign lekar aao, jisne mere haath par yeh likh diya.. [Mera baap chor hai.]"

"Main aaj bhi pheke hue paise nahi uthaataa Dabar Saab."

"Vijay, tu kuch aisa kaam to nahi kar raha hai naa, jo tujhe nahi karna chahiye."

"Vijay: Aaj mere paas building-e hai, property hai, bank balance hai, bangla hai, gaadi hai. Kay hai tumhare paas?"

"Ravi: Mere paas maa hai!"

"Once upon a time, there were three very different little girls... who grew up to be three very different women. But they have three things in common: They're brilliant, they're beautiful and they work for me. My name is Charlie."

"They're beautiful, they're brilliant, and they work for Charlie"

"Cameron Diaz — Natalie"

"Drew Barrymore — Dylan Sanders"

"Lucy Liu — Alex Munday"

"Bill Murray — Bosley"

"Sam Rockwell — Eric Knox"

"Tim Curry — Roger Corwin"

"Kelly Lynch — Vivian Wood"

"Crispin Glover — The Thin Man"

"Matt LeBlanc — Jason"

"Luke Wilson — Pete"

"John Forsythe — Charlie"

"Well ain't that a bitch... All I wanted to do was to sail my boat, man, you know? Navigate by the stars, see dolphins race alongside, you know, maybe even kill a few of them."

"That's how you do shit! I gots this shit well in control! We're about to get paid."

"Hit Happens."

"a hit...with a twist."

"Nothing's more dangerous than some nice guys... with a little time to kill."

"Executed with style."

"Mark Wahlberg - Melvin Smiley"

"Lou Diamond Phillips - Cisco"

"Christina Applegate - Pam Shulman"

"Avery Brooks - Paris"

"Bokeem Woodbine - Crunch"

"Antonio Sabàto Jr. - Vince"

"China Chow - Keiko Nishi"

"Lainie Kazan - Jeanne Shulman"

"Elliott Gould - Morton Shulman"

"Sab Shimono - Jiro Nishi"

"Robin Dunne - Gump"

"Lela Rochon - Chantel"

"Danny Smith - Video Store Kid"

"Joshua Peace - Lance"

"David Usher - Sergio"

"Great Spirit, Maker of All Life. A warrior goes to you swift and straight as an arrow shot into the sun. Welcome him and let him take his place at the council fire of my people. He is Uncas, my son. Tell them to be patient and ask death for speed; for they are all there but one — I, Chingachgook — Last of the Mohicans."