Movies Quotes

I don't patronise bunny rabbits!

Ladies gotta say no to their husbands at the movies. They gotta say: “No, we are watching back-to-back cancer movies. And then this movie about a cat.”

There are flashes of wit in the opening film-within-a-film-within-a-fi lm sequence, which uses bankable blondes like Anna Paquin and Kristen Bell as Ghostface fodder. And some later jokes, like a visual jab at the director Robert Rodriguez, are funny. Others...are just dumb.

But the central conceit of the characters’ fates being determined by the “rules” of horror movies feels irredeemably tired; a clever idea that was worth one movie.

Scream 4 is not without enjoyment. It's good to see familiar characters back and the opening moments are quite spirited. But it's a film about horror films without being a horror film itself. It's enough to make you scream.

Clearly inspired by The Big Chill, Little White Lies feels overstretched in its two-and-half hour running time, with Canet too reliant at times on montages... You do, however, believe that these characters are long-term friends, who’ve become used to not being entirely truthful to themselves and to one another. Alongside some enjoyable comic moments... the real strength of this film lies in the performances.

Despite some good moments and strong performances from a talented cast, Little White Lies is ultimately something of a slog to sit through and the lack of likeable characters means that it fails to deliver the required emotional punch.

Reichardt recreates the journey of Western-bound settlers...But the film remains very much of her style: it's a deceptively small piece of onscreen art that resonates afterward with such insistence that I felt positively nagged by it. Because Reichardt leaves it open-ended, I kept having the illogical urge to get back to the film — as if it were a half-read story that could be picked up again.

There is a comparable sense of an embattled, frightened expeditionary force, out of food and water, and ideas: without the experience, resources or language to understand someone who may be their destroyer or their only hope of survival. This superbly made, austere film is Reichardt's best yet, certainly a huge advance on her previous work, Wendy and Lucy (2008) and a powerful new addition to the western genre.

There’s much metatextual joy to be had in the way that the characters interact with the books from which they originated, walking from one of E. H. Shepard’s drawings to the next as scenes develop, or using letters displaced from the text as tools or toys. So while there’s little here that’s edgy, hip or envelope-pushing, under-tens and animation-fan parents will adore it.

The decision to keep the runtime down is wise, as none of the plotlines really need feature length development, but this is worth seeing in the cinema if you can, not least for a rather sweet short animation being screened before in about Nessie, the Loch Ness monster, and her quest for a home.... completely adorable and beautifully drawn.

I have lost something. I'm not exactly sure what it is but I know I didn't always feel this...sedated. But you know what?
It's never too late to get it back.

You white. You Ben Afleck.

Tara! Home. I'll go home. And I'll think of some way to get him back. After all... tomorrow is another day.

There's no place like home!

I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope.

You see, this is my life. It always will be. There's nothing else - just us, and the cameras, and those wonderful people out there in the dark. All right, Mr De Mille, I'm ready for my close-up.

You met me at a very strange time in my life.

Life is a tragedy when seen in close-up, but a comedy in long-shot.

"Hanna" is quite the improper little package, stylish, rich in singular images and one that carries itself with both the bravado of a spy thriller and the winsomeness of a fairy tale... Given its fantastic elements, "Hanna" is, on a certain level, ridiculous. But the way Mr. Wright conjures his images and parcels out his narrative is hypnotic and so seductive that wherever the film is heading we want to follow.

But while there's always a lot going on, and none of it uninteresting or dull, pervading the enterprise is the distinct feeling that Wright is trying to prove something -- that he's a real filmmaker and not just a literary transcriber, that style may not just enrich but trump substance, that perhaps a genre film is only really worth doing if it's piled with loftier ideas.