"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."

"[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!!"

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

"[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."

"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!"

"[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."

"Seven Suspects, Six Weapons, Five Bodies and Three Endings."

"Lee Ving - Mr. Boddy"

"Colleen Camp - Yvette"

"Lesley Ann Warren - Miss Scarlet"

"Martin Mull - Col. Mustard"

"Michael McKean - Mr. Green"

"Christopher Lloyd - Prof. Plum"

"Madeline Kahn - Mrs. White"

"Tim Curry - Wadsworth"

"Eileen Brennan - Mrs. Peacock"

"Murder, madness, mystery, and mayhem. More fun than you can imagine."

"It's Not Just A Game Anymore."

""Fight Club" is the most frankly and cheerfully fascist big-star movie since "Death Wish," a celebration of violence in which the heroes write themselves a license to drink, smoke, screw and beat one another up. Sometimes, for variety, they beat up themselves. It's macho porn—the sex movie Hollywood has been moving toward for years, in which eroticism between the sexes is replaced by all-guy locker-room fights. Women, who have had a lifetime of practice at dealing with little-boy posturing, will instinctively see through it; men may get off on the testosterone rush. The fact that it is very well made and has a great first act certainly clouds the issue. Edward Norton stars as a depressed urban loner filled up to here with angst. He describes his world in dialogue of sardonic social satire. His life and job are driving him crazy. As a means of dealing with his pain, he seeks out 12-step meetings, where he can hug those less fortunate than himself and find catharsis in their suffering. It is not without irony that the first meeting he attends is for post-surgical victims of testicular cancer, since the whole movie is about guys afraid of losing their cojones. Only gradually are the final outlines of his master plan revealed. Is Tyler Durden in fact a leader of men with a useful philosophy? "It's only after we've lost everything that we're free to do anything," he says, sounding like a man who tripped over the Nietzsche display on his way to the coffee bar in Borders. In my opinion, he has no useful truths. He's a bully—Werner Erhard plus S & M, a leather club operator without the decor. None of the Fight Club members grows stronger or freer because of their membership; they're reduced to pathetic cultists. Issue them black shirts and sign them up as skinheads. Whether Durden represents hidden aspects of the male psyche is a question the movie uses as a loophole—but is not able to escape through, because "Fight Club" is not about its ending but about its action. Of course, "Fight Club" itself does not advocate Durden's philosophy. It is a warning against it, I guess; one critic I like says it makes "a telling point about the bestial nature of man and what can happen when the numbing effects of day-to-day drudgery cause people to go a little crazy." I think it's the numbing effects of movies like this that cause people go to a little crazy. Although sophisticates will be able to rationalize the movie as an argument against the behavior it shows, my guess is that audience will like the behavior but not the argument. Certainly they'll buy tickets because they can see Pitt and Norton pounding on each other; a lot more people will leave this movie and get in fights than will leave it discussing Tyler Durden's moral philosophy. The images in movies like this argue for themselves, and it takes a lot of narration (or Narration) to argue against them."

"Zach Grenier - Richard Chesler, The Narrator's boss"

"Jared Leto - Angel Face"

"Meat Loaf - Robert Paulson"

"Helena Bonham Carter - Marla Singer"

"Brad Pitt - Tyler Durden"

"Edward Norton - The Narrator"

"Advertising has us chasing cars and clothes; working jobs we hate, so we can buy shit we don't need."

"You're the all-singing, all-dancing crap of the world."

"Fuck Martha Stewart ..its all going down"

"This is your life and it's ending one minute at a time."

"It's only after we've lost everything that we are free to do anything."

"Mischief. Mayhem. Soap."

"Losing all hope is freedom"

"When you wake up in a different place at a different time, can you wake up as a different person?"

"How much can you know about yourself, if you've never been in a fight?"

"We had some great choreographers on the fight scene once we got into the club itself," says Pitt, who plays Tyler Durden, a self-styled male-consciousness raiser. Newsweek's David Anson reviews Pitt's character as "a kind of Nietzschean Robin Hood, using violence to restore dignity to the benighted American male. "If Rudy Giuliani was upset by a little bit of elephant dung on a portrait of the Virgin Mary," writes critic Jason Kaufman for NY Rock, referring to the New York mayor's recent displeasure with the Brooklyn Museum of Art's "Sensation" exhibit, "'Fight Club' should give him a coronary on the spot." Anson, in his Newsweek review, says the film trades in homoerotic imagery without addressing it: "When the movie, after satirizing the gym-enhanced bodies of men in Gucci subway ads ("Self-improvement is masturbation," Tyler pronounces), cuts to the impeccably lean and cut body of its leading man, it is in the grips of a style-content contradiction that this slick denunciation of surface values battles throughout."

"Guaranteed: Fight Club will blow your skirt up. It's not just the rush of seeing Edward Norton, Brad Pitt and director David Fincher hit career peaks in a groundbreaking film. And it's not the sick kick of watching Gen X amateurs bare-knuckling each other in seedy basements; that'd get old fast. The film's bold, bruising humor leaves marks on a wide range of hot-button issues: It's about being young, male and powerless against the pacifying drug of consumerism. It's about solitude, despair and bottled-up rage. It's about how not to feel dead as Y2K approaches. It's about daring to imagine the disenfranchised reducing the world to rubble and starting over. For daring to imagine, Fight Club will take a few hits. Fincher's film of Chuck Palahniuk's 1996 novel – with a high-voltage script by newcomer Jim Uhls – is already being misinterpreted as an “apology for fascism.” One critic wondered whether Rupert Murdoch's Fox 2000, the company releasing Fight Club, “knew what it was doing” in spending $70 million on a movie that is “not only anti-capitalism but anti-society and, indeed, anti-God.” My take is that Fight Club is pro-thinking, no matter what deities are offended. Is that threatening? You bet. Norton catches lightning in a revelatory performance that keeps delivering miracles of character nuance. He may be the best actor of his generation. Watching Jack beat himself bloody in front of his boss is a high-wire act that belongs in a time capsule. And Pitt, in his riskiest role to date, uses his sexual swagger to subversive comic effect; he's freer, funnier and freakier than you've ever seen him. It's Tyler who shows Jack how to add nitric acid to soap and make nitro-glycerin. It's Tyler who turns fight clubs into militias and then bomb squads ready to blast the foundations of the planet's power base: banks and credit-card companies."