"I don't want to shit on anyone's riff, but let me see if I grasp this concept, okay? You’re suggesting that we take some fucking parking-shuttles and reinforce them with some aluminum siding, and then just head on over to the gun-store and watch our good friend Andy play some cowboy-movie-jump on the covered wagon-bullshit. Then, we're gonna drive across the ruined city through a welcome-committee of a few hundred-thousand dead cannibals, all so that we can sail off into the sunset on this fuckin' asshole's boat? [The group nods] Alright I'm in."

""Andy... I'm sorry brother.."

"[En route to the marina, zombies swarm against Kenneth's bus] They're trying to turn us over! Hit them with the saw!"

"[About the deaths of Luda, Andre and Norma] There's nothing to be said. I been to a lot of funerals, folded the flags, givin' them to mothers, wives, sons, and told them how sorry I was. But that's not what I was really feeling. In the back of my mind, I was always thinking better them than me. But I don't believe that now. And now I know that there are some things worse than death. And one of them is sitting here waiting to die."

"I don't believe in God. I don't see how anyone could."

"I feel like I'm here for another reason. I feel like I'm here to bring that baby on this earth, and give it everything that I never had. I just want the opportunity... to change things."

"[Zombie has slammed itself against a glass door at the mall from the outside] Shatterproof, asshole"

"The bites killed her, the bites brought her back."

"Uncover the secret. Unlock the legend. Unleash the power."

"- Ahnk-sun-Amun"

"- Henderson"

"- Allen Chamberlain"

"Erick Avari - Curator Terrence Bey"

"Omid Djalili - Warden Gad Hassan"

"- Captain Winston Havlock"

"Oded Fehr - Ardeth Bei"

"Kevin J. O'Connor - Beni Gabor"

"Arnold Vosloo - Imhotep"

"John Hannah - Jonathan Carnahan"

"Rachel Weisz - Evy Carnahan"

"Brendan Fraser - Rick O'Connell"

"There are four people I have to kill to get four canopic jars that hold the vital organs of Anck-su-namun. As I kill each person, I regenerate slightly. Mummy One and Two are ILM, then Three and Four are myself and some ILM. I didin't act with any prosthetics on when it came to Mummy Four; for the third I had some prosthetics. For that and Mummy Four, I had pieces of plastic on my body that I acted with, little tracking markers. They were little soft, pliable, plastic shapes - a round one, a square, oblong or whatever - which to ILM represented the holes in my body. That's where they drew in whatever they wanted - rotten teeth for the one stuck on my face; where it was stuck on my neck, they drew in muscles and decayed flesh. It's sort of like half of my flesh has come back, and the other half is still decayed. If they pull this off, they surely must win every award in sight for that kind of effects. It's going to be amazing."

"Death is only the beginning."

"Prepare. Beware. Behold."

"Adventure Is Reborn."

"The legend you know. The adventure you have yet to imagine."

"The sands will rise. The heavens will part. The power will be unleashed."

"Here I come, laddies!"

"[Finds Evie] There you are! You've been playing hide-and-seek? C'mon, let's get out of here! [Sees Evie staying shocked still, turns to see what she's looking at, and sees Imhotep's live mummy] WOAH!!!"

"I only gamble with my life, never my money."

"Know this, this creature is the bringer of death. He will never eat, he will never sleep, and he will never stop."

"(narrating) Thebes, City of the Living. Crown jewel of Pharaoh Seti I. Home of Imhotep, Pharaoh's high priest, keeper of the dead; birthplace of Anck-Su-Namun, Pharaoh's mistress. No other man was allowed to touch her. But for their love, they were willing to risk life itself. To resurrect Anck-Su-Namun, Imhotep and his priests broke into her crypt and stole her body. They raced deep into the desert, taking Anck-Su-Namun's corpse to Hammunaptra, City of the Dead, ancient burial site for the sons of pharaohs, and resting place for the wealth of Egypt. For his love, Imhotep dared the gods' anger by going deep into the city, where he took the black Book of the Dead from its holy resting place. Anck-Su-Namun's soul had been sent to the dark Underworld, her vital organs removed and placed in five sacred canopic jars. Anck-Su-Namun's soul had come back from the dead. But Pharaoh's bodyguards had followed Imhotep, and stopped him before the ritual could be completed. Imhotep's priests were condemned to be mummified alive. As for Imhotep, he was condemned to endure the Hom-Dai, the worst of all ancient curses. One so horrible, it had never before been bestowed. He was to remain sealed inside his sarcophagus, the undead for all eternity. The Medjai would never allow him to be released. For he would arise a walking disease, a plague upon mankind, an unholy flesh-eater with the strength of the ages, power over the sands, and the glory of invincibility. For 3,000 years men and armies fought over this land, never knowing what evil lay beneath it; and for 3,000 years we, the Medjai, the descendants of Pharaoh's sacred bodyguards, kept watch."

"Marine Corps Officer: Guidons, Guidons, Black Six. Attack, attack, attack!"

"The human characters are disappointingly one-dimensional. Cruise's character is given a smidgen of humanity (he's an immature, divorced hotshot who has custody of the kids for the weekend) and then he wanders out with his neighbors to witness strange portents in the sky, and the movie becomes a story about grabbing and running and ducking and hiding and trying to fight back. There are scenes in which poor Dakota Fanning, as his daughter, has to be lost or menaced, and then scenes in which she is found or saved, all with much desperate shouting. A scene where an alien tentacle explores a ruined basement where they're hiding is a mirror of a better scene in "Jurassic Park" where characters hide from a curious raptor. The thing is, we never believe the tripods and their invasion are practical. How did these vast metal machines lie undetected for so long beneath the streets of a city honeycombed with subway tunnels, sewers, water and power lines, and foundations?"

"The problem may be with the alien invasion itself. It is not very interesting. We learn that countless years ago, invaders presumably but not necessarily from Mars buried huge machines all over the Earth. Now they activate them with lightning bolts, each one containing an alien (in what form, it is hard to say). With the aliens at the controls, these machines crash up out of the Earth, stand on three towering but spindly legs and begin to zap the planet with death rays. Later, their tentacles suck our blood and fill steel baskets with our writhing bodies. To what purpose? Why zap what you later want to harvest? Why harvest humans? And, for that matter, why balance these towering machines on ill-designed supports? If evolution has taught us anything, it is that limbs of living things, from men to dinosaurs to spiders to centipedes, tend to come in numbers divisible by two. Three legs are inherently not stable, as the movie demonstrates when one leg of a giant tripod is damaged, and it falls helplessly to the ground. The tripods are indeed faithful to the original illustrations for H.G. Wells' novel The War of the Worlds, and to the machines described in the historic 1938 Orson Welles radio broadcast. But the book and radio program depended on our imaginations to make them believable, and the movie came at a time of lower expectations in visual effects. You look at Spielberg's machines and you don't get much worked up, because you're seeing not alien menace but clumsy retro design. Perhaps it would have been a good idea to set the movie in 1898, at the time of Wells' novel, when the tripods represented a state-of-the-art alien invasion."

"War of the Worlds is a big, clunky movie containing some sensational sights but lacking the zest and joyous energy we expect from Steven Spielberg."

"Spielberg: Mr. Spielberg, your plans to make a film of "War of the Worlds" date back to the early 1990s. Would you have made the film if September 11 had not happened?"

"Spielberg: Mr. Spielberg, no other film director has done more image-building for aliens than you: in your films "Close Encounters of the Third Kind" (1977) and "E.T." (1982) you describe them as loveable creatures. In your latest film, "War of the Worlds," which opens in theaters on June 29, you have aliens from outer space attacking the world. What's the reason behind your change of heart?"

"In re-watching War of the Worlds, it's hard not to compare it to Battlestar Galactica. War of the Worlds deals with a lot of the same themes as Battlestar Galactica, which premiered in the same year and was also a direct response to 9/11 and post-9/11 American life."

"Though War of the Worlds may have been based on an H.G. Wells novel from 1897, the film is very much about a specific, confusing, terrible time in American history: the period directly following the 9/11 terrorist attacks and how we, as a country, reacted to it. The movie tries to work through this collective angst and trauma, a fact that is, somehow, even more obvious watching it more than a decade after its initial release. The story begins in New York City, where Tom Cruise's Ray works on the docks and lives in New Jersey. When the alien attack first begins, greater New York City is the "ground zero" we see it depicted from. Ray's New Jersey community, filled with a sense of tight-knit camraderie and friendly neighborhood cops that feel totally different in the context of post-9/11 than they do in our current cultural context, is where this all begins for us. From there, we get several iconic images Americans have come to associate with 9/11: from traumatized people covered in ash to hordes of weary people walking across bridges to the signs people have made to look for their missing loved ones. At one point, when Ray and his kids are driving away from NYC, Dakota Fanning's Rachel asks if it is "the terrorists" as the city is destroyed behind them. This movie is also really pro-military. Pretty much whenever there is a heroic moment, it is a military man leading the way. The National Guard makes recurring appearances, somehow still in operation in the midst of this batshit crazy alien attack that the Earth is wholly unprepared for. This is not only an allegory for the police and firemen whose heroism has become a central tenet of our 9/11 narrative, but of the Iraq War that began probably around the time of this film's initial development."

"This Summer, The Last War On Earth Won't Be Started By Humans."

"They're Already Here."

"Captured Army Private: Everybody, down!-[when explosion is about to occur]"

"Mary Ann: You're out of milk. And everything else."

"Tim: (awkwardly) I'm.....uh.....I'm gonna wait outside."

"National Guard Lieutenant: Load the Gustavs, this is gonna be a tough kill!"

"So what are you gonna do? Hide and wait here till they come and get you? Is that your "plan"?"

"I'm dead set on living. [laughs, to himself] "Dead set on living"."

"You and me - I don't think we're on the same page."