If you know nothing else about this movie, you probably still know this line thanks to its ubiquity on the internet -- a line and scene that director Darren Aronofsky says on the DVD commentary were inspired by something he actually witnessed.
No further elaboration given. Mad Max: Fury Road George Miller effortlessly created a whole world, complete with its own societal structure and mythology, within the first half hour of his epic Mad Max: Fury Road , adding fierce Imperators and albino "warboys" to his diesel-drenched post-apocalyptic saga. The tyrannical Immortan Joe has developed a religion in order to subjugate his people, convincing them that, when they die, they'll continue to "ride shiny and chrome" in the viking afterlife of Valhalla.
100. "I don't have friends. I got family."
That's what he says to young Nux Nicholas Hoult before he sends him on a suicide mission. It's the YOLO of the sandy, violent future.
It's also the thing your lizard brain says to itself right before you run a red light. Anakin grew up as a slave on a desert planet, so yeah, naturally, the texture of sand would probably bring back those memories.
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But, geez, man, can't you think of a less creepy way to say it? Zero Dark Thirty Jessica Chastain is not exactly a "funny" performer, and Zero Dark Thirty , the controversial drama about the years-long hunt for Osama bin Laden, is definitely not a "funny" movie. The character she plays, a no-nonsense CIA intelligence analyst named Maya, is obsessed with her job, and when she gets in the room with James Gandolfini's gruff CIA Director she doesn't back down.
She's been pushing this rock up a hill for years. The "motherfucker" line has a grim matter-of-factness to it that speaks to the movie's focus on Maya's single-minded, ethically warped mission. Zero Dark Thirty and The Hurt Locker , the two tactics-obsessed war films written by Mark Boal and directed by Kathryn Bigelow from the '00s, are filled with functional bits of military jargon, bureaucratic double-speak, and terse commands. They're not exactly quotable, choosing to focus on creating feelings of dread instead, but somehow the "motherfucker" line cuts through the tension and adds a much-needed moment of levity.
Phantom Thread You wouldn't typically think someone poisoning her partner is "sweet," but Phantom Thread pulls it off. Paul Thomas Anderson's follow-up to the hazy, mumbling, postmodern mystery Inherent Vice favors the meticulous, harsh candor of Daniel Day-Lewis' Reynolds Woodcock and the narrative straightforwardness of a couple falling in love.
A fashion designer with obsessive-compulsive and controlling tendencies, Woodcock spends the entire running time verbally cutting down those who fail him -- including Alma, the waitress he's turned into his muse, though she's totally unwilling to give up her own assertiveness and independence The tea is going out, the interruption is staying right here with me!
Their dynamic makes his response to Alma's revelation that his omelet is poisoned so perversely sweet. Just when the struggle of being together reaches its darkest moments, Alma and Reynolds lay their cards on the table. She wants him flat on his back; he's finally willing to give up control. It epitomizes the contradictory, painful, and transcendent nature of love, and puts a fitting capstone on Alma and Reynolds' courtship.
Thankfully, the years have been kind to this parody of tedious music biopics, especially considering Hollywood keeps making tedious music biopics. Ahem, Bohemian Rhapsody. You see, Dewey slices his brother in half during a playful machete fight, and his father will not stop reminding him: "Wrong kid died. Cage doesn't inhabit a role so much as he grabs it by the scruff of its neck and beats it into submission, and nowhere is that technique more evident than in Wicker Man , the mid-aughts remake of the British horror classic. It's a quintessentially insane Cage performance; some might call it bad acting, while we choose to recognize its unhinged gonzo genius.
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Throughout a film that has Cage running around yelling at children, punching and kicking women, the scene where the neo-pagans finally exact their punishment is among his finest work. It's outstanding. Bridesmaids Bridesmaids is important for lots of reasons, but for our purposes here, we're going to focus on the fact that it unleashed the absolute comedic delight of Melissa McCarthy upon the world as Dougie's Tim Heidecker doofus-with-a-heart-of-gold sister, Megan.
In the first scene we're introduced to her, we get a lot from Megan, oversharing with Kristen Wiig's Annie about getting pins in her leg after falling off a cruise ship and mistaking the extraordinarily tall Hugh Dane smoking a pipe and wearing a newsboy cap for Annie's "fella," which is when we get this gem of unfiltered libido. The Prestige The whole point of magic tricks is to deceive.
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Part of doing magic is making the audience think the trick is happening over here, while actually making something else happen over there. When you're watching the ball in one hand, you're not focusing on what he's doing with the other, which is what makes the trick work in the end. Ricky Bobby prefers the Christmas Jesus, and thus: "Dear 8-pound, 6-ounce newborn infant Jesus, don't even know a word yet Love that money! Also, due to a binding endorsement contract that stipulates I mention Powerade at each grace, I just want to say that Powerade is delicious and it cools you off on a hot summer day and we look forward to Powerade's release of Mystic Mountain Blueberry.
Thank you for all your power and grace, dear baby God.
Barbershop The Barbershop franchise is all talk. For over a decade, the series, which spawned two sequels, a spinoff starring Queen Latifah, and a short-lived Showtime comedy, chronicled the bustling activity and nonstop banter inside a Chicago hair-cutting establishment owned by Ice Cube's Calvin Palmer Jr. But Calvin often ceded the floor to Cedric The Entertainer's Eddie, a gray-haired, glasses-wearing barber with opinions on just about everything.
In a pre-social-media world, Eddie's provocative comments in the movie, which included takes like "Fuck Jesse Jackson," "O. It's hard to think of many other comedies where the dialogue actually spilled out into the real world to this extent, prompting Jackson himself to pressure the studio to remove the offending lines about Civil Rights icons from the DVD. What's noteworthy about the actual scene is that almost everyone else in the shop at the time is already condemning Eddie's remarks, grumbling and booing in the background, and the Jackson line gets the biggest groans of all, showing "straight talk" like Eddie's always comes with a strong reaction.
Nymphomaniac Part I Danish bad-boy director Lars von Trier is not for everyone, and his two-part sex addiction epic Nymphomaniac is definitely not for everyone, but for those who dig his t-t-t-tWiStEd filmography, Nymphomaniac Part I contains the single greatest, most bizarre, most shocking line reading of all his movies. It occurs when Mrs. H Uma Thurman, god tier decides to bring herself and her children to visit her unfaithful husband and the young girl the movie's protagonist, played here by Stacy Martin he's sleeping with, touring around her apartment and commenting on all of her possessions.
The whole exercise is designed to show her husband how his infidelity has ruined the lives of his family -- an extremely, extremely, painfully awkward setup for a scene -- and when she finally gets to the "whoring bed" line, your whole brain will just be full of exclamation points and nothing else. Much of its popularity comes down to the chemistry and the much-hyped sex scene between Mila Kunis and Natalie Portman, with Portman in particular delivering a crazed, obsessive performance as Nina, a ballerina losing her grip on reality as she struggles to embody the Black and White Swan in Swan Lake.
Aronofsky's films typically demonstrate his eye for an dazzling final shot The Wrestler or Requiem for a Dream , for example , but there's no better way to end a movie about the hazards of perfectionism than with Portman's Nina bleeding, looking into the lights, and saying for once: "I was perfect. Inglourious Basterds Christoph Waltz's international starmaking turn as Colonel Hans Landa, an SS officer working in Nazi-occupied France, allows him to lay on his weasely, morally bankrupt charm throughout Quentin Tarantino's Inglourious Basterds , but he lands on this gem right at the moment World War II can be won by the Allies.
While almost all of Waltz's screen time features zingers delivered in three languages, this is the line that reveals how truly empty his soul is: He's smart, and has no conscience. Novak's Smithson Utivich, the perpetually cheery colonel tries his hand at an American expression. The result is a malapropism that belies the utter seriousness of the moment, and is instantly memorable; the war will be over that night, but Landa happily practices his American English as he preps a clean exit for himself.
Even though Aldo corrects him, Landa's version is what lives on from Inglourious Basterds. Donnie Darko Richard Kelly's dorm-room-poster of a movie, filled with stoner-logic time-travel shenanigans and enough adolescent angst to fill a heated LiveJournal entry, has a handful of lines that pop off the screen: "I'm voting for Dukakis;" "Smurfette doesn't fuck;" and "Sometimes I doubt your commitment to Sparkle Motion" were all named as possible candidates for this list.
Kelly's ear for teenage vulgarity and suburban absurdity remains the movie's secret weapon, the aspect that keeps it from devolving into overwrought science-fiction mumbo-jumbo and messianic self-pity.
His less widely celebrated follow-up, Southland Tales , has a handful of memorable smart-ass one-liners too. But the "stupid man suit" question posed by Frank the Rabbit to Jake Gyllenhaal's moody hero Donnie during a Halloween screening of Evil Dead boils down the movie's cult appeal into a single utterance.
Genre films are always attempting to peel back layers of reality, pushing at the boundaries of consciousness and the limits of the body, and Frank, menacing and ridiculous in his voice-modulating bunny suit, was a fitting spokesman for the "whoa"-seeking philosophy Kelly was peddling. Snowpiercer This one requires a spoiler alert. When Chris Evans, face dirtied, utters this line in Bong Joon-ho's Snowpiercer , a thriller about a class uprising on a train containing the last of civilization circling the globe, it's a total shock.
Evans' hero, Curtis, has fought his way through most of the train before he makes the confession that, in the early days of this apocalypse, the poorest citizens were deprived of food and resorted to eating one another. Curtis is a tortured soul because he knows what people taste like, and, by extension, he knows that "babies taste best.tocigughorn.cf
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The Incredibles It's unlikely that Brad Bird and his cohorts knew that this was the one scene from The Incredibles that would go down in history as one of the best, funniest movie scenes of all time. It's mostly thanks to Samuel L. Jackson, who plays icy superhero Frozone, and Pixar employee Kimberly Adair Clark as his wife, who, in the movies, always appears as a voice.
The two bicker about Frozone's missing suit, his wife telling him that, no, he shouldn't go off and save the city from a giant rampaging robot because they have a date planned. The scene has inspired many covers and cursed remixes , but perhaps the best thing it gave us was an instant knee-jerk response any time someone in the room says "HONEYYYYY? Zoolander It's difficult to overstate the influence Zoolander has had on comedy in the 21st century.
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The absurd concept, the over-the-top characters, the jam-packed script of lines designed to be repeated for months and years after audiences leave the theater. Plenty of quotes have taken up residence in standard pop-culture references: "Really, really, really, ridiculously good-looking," "So hot right now," "I think I'm getting the black lung, Pop," "Moisture is the essence of wetness," etc.
Zoolander Ben Stiller is outraged, and his timing in this scene -- destroying the model, standing expectantly, then asking his rhetorical line -- makes the quote stand out.