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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.

Cynthia Shepp

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. 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?

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Zoolander It's difficult to overstate the influence Zoolander has had on comedy in the 21st century. 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. More than Blue Steel or Magnum, the "center for ants" quote defines Derek Zoolander… and countless others trying to be just as funny upon encountering a small-scale model of a large object. Eternal Sunshine of the Spotless Mind Whispered by Kate Winslet's Clementine in the midst of a collapsing house and a disappearing memory, "Meet me in Montauk" is a last-ditch rescue attempt, a verbal Hail Mary tossed into the void before the clock runs out.

Of all the clever dialogue in Charlie Kaufman's Oscar-winning script, which he penned during a wildly productive burst of creativity in the early '00s, it's this earnest request that hits home the hardest, evoking a dream of a shared life and a chance at romantic redemption.

Even after all the pain and heartbreak, you still want to see Clementine and Joel find each other and get another shot at reconstructing their relationship. Eternal Sunshine of the Spotless Mind understands that basic yearning for hope and connection. Unsurprisingly, the line has inspired fans to travel to Montauk itself for trips and special screenings -- perhaps discovering their own fractured love stories along the way.

Step Brothers Like the previous Adam McKay and Will Ferrell collaborations Anchorman and Talladega Nights , Step Brothers is a movie filled with incredibly funny lines, but this time the two writers were freed up by the movie's R-rating to chase some of their most bizarre, vulgar ideas. That's part of why the famous but squeaky-clean trailer line "Did we just become best friends? How did "the biggest helicopter leasing event in the Western hemisphere since " come to mean so much to the movie's fans? Reilly and Will Ferrell save the day with their ridiculous musical performance at the event.

In the years following the movie's release, the line has become a celebratory shorthand and a way of life: The New Orleans Saints said it in the locker room after they won the Super Bowl in , and it's also now a real event you can attend in California. As you'd imagine, McKay has expressed some ambivalence about the phenomenon, saying in a recent interview , "When you see the people who you're kind of making fun of embrace it, it's both hilarious, and at the same time, dispiriting.

Fifty Shades of Phil

Almost Famous Cameron Crowe's semi-autobiographical screenplay about a year-old writer embedded with rising stars in the heyday of '70s rock is basically a sacred text for various groups: Journalists, musicians, and the proverbial "uncool. Frances McDormand's performance as William Miller's exasperated mother is borderline underrated given that it's perhaps the least glamorous of the entire film. But all you need to do is watch her stop a lecture to declare, "Rock stars have kidnapped my son," to see what power she has.

It's not Crowe's most poetic line, but it's one of his funniest.

Whiplash J. Simmons' ruthless jazz conductor Terence Fletcher seethes variations of "not my tempo" throughout Whiplash , but the scene where he grills Miles Teller's first-year drummer Andrew Neiman if he's rushing or dragging behind the kit while rehearsing the title track, "Whiplash," is the movie's most iconic instance.

Anyone who's played in school bands can relate on some level to Fletcher's sociopathic motivational techniques designed to frighten his conservatory kids into nailing their repertoire -- a drummer friend who put himself through music school and now teaches lessons relayed a story about a professor who would notoriously curse out freshman who showed up to rehearsal unprepared. Watching Simmons embody one of those types of band leaders is both exhilarating and horrifying. Am I laughing because this scene is funny, or am I laughing because I'm scared??

Either way, it's effective. Cast Away For a long time, any beach-, summer-, or water-related activity was likely punctuated with your loudest friend shouting, "Wilson! Largely because he is a volleyball with a bloody handprint for a face, the scene and Hanks' dramatic pleas became instantly memorable… and, for better or worse, the subject of many spoofs , despite the film's critical acclaim. In context, though, it gets at the raw emotion of the human need for companionship, one of the essential drives that makes us human.

Hanks moves from desperation and sorrow to sheer guilt "I'm sorry, Wilson! It may be just a funny line in retrospect, but nobody else can emote over a volleyball like Hanks. Wilson's death goes down in one of cinema's most tragic, and we mourn him just the same. Peele was absolutely right: It's more than the line Missy says to Chris as his consciousness sinks further away from his paralyzed body.

Much like the movie itself, it's a metaphor about race dynamics in America and representation in horror films that's been picked apart and memed many times over. Chris's total loss of agency at the hands of a malicious white woman is a clear analog to the systems of oppression that have existed in this country since forever. It's far from the first dissection of this insidious societal mechanism on film -- but it's definitely the scariest, most jarring depiction we can think of. The Dark Knight Heath Ledger's Joker is undoubtedly the most chilling superhero villain ever put on the silver screen, and most of his menace comes from his lack of backstory, motivation, or anything that usually humanizes a villain just enough to impart a smidgen of empathy on the audience.

The Joker, by contrast, is a total blank, delighting in making up stories about his horrific facial scars. The most memorable, whispered to a group of gangsters in a pool hall, involves his drunkard father carving up his face with a kitchen knife, laughing while repeating to him, "Why so serious?

By John Galsworthy

Why so serious, when bringing out the worst in humanity can be so hilarious? In the Loop Before Armando Iannucci was scripting some of the most wonderfully cruel dialogue on television for his Veep , he made In the Loop , a film spinoff of his British series The Thick of It , starring Peter Capaldi as the gloriously profane director of communications Malcolm Tucker. At one point, the hapless Secretary of State for International Development Simon Foster Tom Hollander gets himself an invite to the Future Planning committee in Washington and encourages his underling Toby Wright Chris Addison to leave the room and gather information.

To which Toby responds: "No, it won't, it will be 'difficult difficult lemon difficult. Knocked Up In a far earlier era of blogging -- ! Probably not, if his current politics are any indication of his past. Back in pre-woke pop culture, it was just a satirical scene where an adult friend group of immature straight white dudes try, without appropriate language or informed politics, to talk about what to do when your bro knocks up a lady, thus begetting a hilariously backwards and stupid conversation.

Among the myriad reasons that Black Panther stood apart in the crowded superhero field was the characterization of its villain, Michael B. Jordan's Erik Killmonger. Killmonger is no one-dimensional bad guy. He's a man filled with justifiable resentment, who calls Wakanda out for its isolationist stance that allows black citizens of other countries like the US to suffer. It gave fans a real-life Gosling-McAdams relationship. Like Love Actually , it gave couples lines to say to each other when their own feelings let them down.

Pablo Picasso’s Idiosyncratic Genius | The New Yorker

As McAdams and Gosling play and tease each other in the water, talking about reincarnation and feeling the exhilarating intoxication of new love, you just crave that killer romantic line that will make everything right in the world. Everyone swoons, and Gosling enters movie quote history. Michael Clayton Charting the machinations of a high-powered law firm fixer involved in a giant agrochemical cover-up, Michael Clayton is about as intense as thrillers come -- but no scene is as intense as Clayton's conversation with one of his firm's attorneys Tom Wilkinson who is in the midst of a mental breakdown, having realized that he's helped to engineer said cover-up, which has exposed people to known carcinogens.

Wilkinson's Arthur Eden, who's known to have manic episodes, rejects Clayton's pleas to start taking his medication again, and instead paces the floor and confessing his guilt. The scene peaks with appropriate self-aggrandizement when Arthur compares himself to the Hindu god of destruction, given how many innocent people he's allowed to die.

National Treasure Benjamin Franklin Gates has the greatest respect for our historical institutions, which is why it's so difficult for him to imagine ever committing a crime in one of them. After a long, inspiring speech about having the responsibility to take action when you know you need to do something right, Nicolas Cage pronounces one of the most famous lines in film history.

  • 99. "Ogres are like onions.".
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  • ‎Fifty Shades of Phil on Apple Books.
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It's a great scene, charting a character's decision to do something he knows is wrong for the pursuit of what is right… and it's also a hilariously melodramatic line in a very fun, exciting movie based on a bizarre idea.