"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."

"Schoenick, your Lieutenant is about to make a real bad career move."

"It's not easy being a cast-iron bitch. It takes discipline, years of training... A lot of people don't appreciate that."

"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."

"So raise your hand if you think that was a Russian water-tentacle."

"[about the Navy SEALS] These guys are about as much fun as a tax audit."

"There was a time that I would've asked why"

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

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

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

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

"[typing] LOVE YOU WIFE"

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

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

"Keep your pantyhose on."

"[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!"

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

"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!"

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

"Marine Corps Captain: Our mission Lieutenant, is to delay their advance until those refugees get to safety! Now keep firing!"

"Reporter: Once the tripods start to move, no more news comes out of that area."

"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."

"This is not a war any more than there's a war between men and maggots... This is an extermination."

"Is it them?! Is it them?!"

"[crying, and softly hitting him] Robbie! What are you trying to do?! Where are you trying to go?! Who's going to take care of me if you go?!"

"[unseen] Are we still alive?"

"[just before the tripods appear] The trees are moving..."

"[as the family is chased by a tripod] Is it the terrorists?!"

"[angrily, to a soldier] LOOK AT THE GODDAMN BIRDS!!!!"

"Get in the car, Manny, or you're gonna die!"

"Let's try a plan that doesn't involve your 10-year-old sister joining the army?"

"Robbie, you wanna head in that direction?! There's nothing living in that direction, Robbie!"

"[looking out at the teleporter's bolt of lightning] Where's the thunder...?"

"Two for you, two for Robbie, two for me... One for the house."