Movies Quotes

Otherwise, it’s brilliantly constructed, going over an eight-minute cycle again and again with variations, each time advancing the plot — it may be that stories like these were inconceivable before choose-your-own-adventure books or computer games — but also bringing out the tragedy of a doom we are told is inescapable as the time-hopper makes different, deepening connections with the girl sitting next to him.

Like his father, Loach has made a film uncluttered by an obvious director’s stamp, peopled by sympathetic characters and driven by a desire to say something about the world without losing sight of human experience. In casting Watson, he’s also secured a performance that boldly lacks vanity while exuding a strength that leads you confidently through difficult, troubling terrain.

There is something about Hugo Weaving’s performance in Oranges and Sunshine that summarizes the film perfectly – mild, understated, slow to engage with, but ultimately, and without warning, powerful and heartbreaking.

Kudos to Snyder (who co-wrote the screenplay with Steve Shibuya) for letting his imagination run wild. It's just a pity that imagination is so drastically circumscribed by the lurid "ho couture" culture of shoot-em-ups and soft porn.

Great on paper, dull in practice, this is less Moulin Rouge meets Sin City and more Powerpuff Girls meet The League Of Extraordinary Gentlemen. Proves that while masturbating over your cast may not make you blind, it can impair directorial vision.

Looks suspiciously like a cack Santa flick in which the fat red guy's been switched with a talking rabbit.

[Their] hiccups are comical at first, but by the time we get to Neil turning down the chance to write for Rod Stewart or support U2 at one of their gigs, the fact he’s too proud or stupid to take the opportunities offered to him begins to grate.
Serafinowicz adds sparkle as a flaky promoter, and Postlethwaite is touching in his final screen
appearance.

Big, brash movies are typically made by an army of highly intelligent folk who know exactly what they are doing at every step. The sadness is so much of it feels subsumed by focus group editing, lame in-jokes and an adherence to cliché that screams lowest common denominator, safety first filmmaking.

Like the late Pete Postlethwaite’s cameo (his final screen credit), alas, the messy, patchy and overlong result elicits more rueful sadness than side-splitting hilarity.

If ultimately Passenger Side is a bitter pill to swallow, it is sweetened by the amiably bantering central performances, the hilariously caustic (and entirely credible) wit of the script, and by the perfect selection of songs on Michael's retro mix tape... After all, even as some journeys change everything, others get you nowhere.

Talk about making a virtue of your limitations: it’s a road movie set almost within one city, a romance where the love interest is off-screen and a moving family drama with no scenery-chewing showdown. What it has in spades is smart talk and tattered beauty...The faded hope of LA is perfectly captured, as is a depth of sibling love and resentment, with excellent performances, big laughs and emotional truth.

Arguably the most abstract chase film since Joseph Losey's Figures in the Landscape, this is a furious, pared-down parable enriched by the Polish director's sardonic understanding of man's desperation forever alternating between prey and predator.

Gallo, who was named best actor at this year's Venice Film Festival, proves galvanizing without uttering a single word (there's precious little dialogue here). Rarely has such strict physicality been used on screen to such potent effect.

Elementary, my dear Watson.

You're going to need a bigger boat.

Rick: You know what I want to hear.
Sam: [lying] No, I don't.
Rick: You played it for her, you can play it for me!
Sam: [lying] Well, I don't think I can remember...
Rick: If she can stand it, I can! Play it!

Ilsa: Play it once, Sam. For old times' sake.
Sam: [lying] I don't know what you mean, Miss Ilsa.
Ilsa: Play it, Sam. Play "As Time Goes By."
Sam: [lying] Oh, I can't remember it, Miss Ilsa. I'm a little rusty on it.
Ilsa: I'll hum it for you. Da-dy-da-dy-da-dum, da-dy-da-dee-da-dum...
[Sam begins playing]
Ilsa: Sing it, Sam.

Dorothy: How can you talk if you haven't got a brain?
Scarecrow: I don't know, but some people without brains do an awful lot of talking, don't they?

Dorothy: How can you talk if you haven't got a brain?
Scarecrow: I don't know, but some people without brains do an awful lot of talking, don't they?

A heart is not judged by how much you love; but by how much you are loved by others.