102 quotes found
"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"
"[in his journal while imprisoned] The wind whispers of fear and hate. The war has killed love. And those that confess to the Angkar are punished, and no one dare ask where they go. Here, only the silent survive."
"We must be like the ox, and have no thought, except for the Party. And have no love, but for the Angkar. People starve, but we must not grow food. We must honor the comrade children, whose minds are not corrupted by the past."
"They brought in the whole fucking press corps. They want to sanitize the story. Bastards!"
"I can't eat eggs, someone told me they shrink with fright when you cook them."
"Anything I eat's gotta be absolutely dead. That is why I can never eat an oyster. I read somewhere that they put that lemon juice on them just to stun them. What's the difference?"
"What pisses me off is that this country has a lot of faults and a lot of strengths and we have done nothing but play to the faults. I'll tell you Sid I will be damned glad to get out of here. This thing has dragged on too long for it to end in all sweetness and light and after what the Khmer Rouge have been through I don't think they're going to be exactly affectionate toward westerners."
"[reading] Dear sir, My family and I are planning a touring vacation of southeast Asia and anticipate, uh 2 weeks in Cambodia touring the country. Would you please send tour information and brochures? Thanking you in advance, Wendal Payne. Wendal lives in Wisacky, South Carolina."
"I know Sid but what can we do? It could be a bloodbath here. Look, excuse the pun but we're either staying or we're living."
"Not Sydney Schanberg: Well, it's just too goddamn late, Alan, this country's split apart. We put this ship to sea and it breaks my heart not to help it back to a port, any port."
"Sam Waterston - Sydney Schanberg"
"Haing S. Ngor - Dith Pran"
"John Malkovich - Alan 'Al' Rockoff, Photographer"
"Julian Sands - Jon Swain"
"Craig T. Nelson - Major Reeves, Military Attache"
"Spalding Gray - United States consul"
"Bill Paterson - Dr. MacEntire"
"Athol Fugard - Dr. Sundesval"
"Graham Kennedy - Dougal"
"Patrick Malahide - Morgan"
"Nell Campbell - Beth"
"Joanna Merlin - Schanberg's Sister"
"[opens the closet door in Peter and Judy screams in pains with the leeches] Oh, sorry! [closes the closet door in kids stop screaming. He kicks the Alan's room in grunts; whispers] I'm back. My bike. [?] Somebody rolls for five or eight?"
"In the jungle, you must wait, until the dice read 5 or 8."
"STOP GIVING ME THINGS THAT COME APART!"
"I've got it! Colonel Mustard in the library with the wrench. [Laughs] Clue."
"You think monkeys, mosquitoes, and lions are bad? That's just the beginning. I've seen things you've only seen in your nightmares. Things you can't even imagine. Things you can't even see. There are things that hunt you in the night. Then something screams. Then you hear them eating, and you hope to God that you're not dessert. Afraid? You don't know what afraid is. You will not last 5 minutes without me."
"Find my parents!"
"Hey, wait a minute! Where are you going?"
"Judy: We barely even knew our parents. They were always away. Skiing in St. Moritz, gambling in Monte Carlo, safariing in darkest Africa. We didn't even know if they loved us. But when the sheik's yacht went down, they managed to write us a really beautiful goodbye note that was found floating in a champagne bottle amongst the debris."
"Carl: [After a monstrous jungle vine takes his car away] FINE! TAKE IT!"
"A game for those who seek to find a way to leave their world behind."
"Roll the dice and unleash the excitement!"
"It's a jungle in there!"
"Are you game?"
"Robin Williams – Adult Alan Parrish"
"Jonathan Hyde – Samuel Alan Parrish/Hunter Van Pelt"
"Bonnie Hunt – Sarah Whittle"
"Kirsten Dunst – Judy Shepherd"
"Bradley Pierce – Peter Shepherd"
"Bebe Neuwirth – Aunt Nora Shepherd"
"David Alan Grier – Carl Bentley"
"Adam Hann-Byrd – Young Alan Parrish"
"Laura Bell Bundy – Young Sarah Whittle"
"Patricia Clarkson – Carol Parrish"
"You Actually See the Weird Fantastic Rituals of the Headhunters!"
"See hypnotic love create shocking bestial desire!"
"Robert Clarke — Steve Duval"
"Dorothy Haney — Marlene"
"Robert Christopher — Whorf"
"William White — Dione"
"[last lines] All the woild loves a lover, but in this case, we'll make an exception."
"What for you bury me in the cold, cold ground?"
"Mel Blanc as Bugs Bunny / Tasmanian Devil / Tasmanian She-Devil / Turtle"
"One hell of a morning has turned into a bitch of a day!"
"What did you do, wake up this morning and say, "Today, I'm going to ruin a man's life"?"
"Goddamn it, I knew I should've listened to my mother. I could've been a cosmetic surgeon, five hundred thou a year, up to my neck in tits and ass."
"[to Jack] Oh, oh I'm the creep, huh? Well at least I'm honest: I'm stealing this stone. I'm not trying to romance it out from under her."
"How will you die, Joan Wilder? Slow, like... a snail? Or fast, like a shooting star?"
"Crocodiles shed tears when they eat their prey. You have heard of these tears I am sure. But have you seen them?"
"They know nothing. They are peasants. Another bus will come along. There are schedules to be kept, even in Columbia."
"Michael Douglas - Jack T. Colton"
"Kathleen Turner - Joan Wilder"
"Danny DeVito - Ralph"
"Zack Norman - Ira"
"Alfonso Arau - Juan - "The Bellmaker""
"Manuel Ojeda - Colonel Zolo"
"Holland Taylor - Gloria Horne"
"Mary Ellen Trainor - Elaine Wilder"