Confessions of a Hollywood Stunt Man (or It seemed like a good idea at the time!)
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Among several memorable lines, it's Will Ferrell's unhinged "You're my boy, Blue! Blue Patrick Cranshaw , of course, is the octogenarian willing to subject himself to extreme hazing just to get into the post-grad fraternity at the center of the movie, and Ferrell's Frank the Tank utters his infamous line twice, slightly reconstructed: The first, "Blue, you're my boy," comes when the frat founders make initiates drop from a rooftop cinderblocks attached by a long string to their penises. The second, more absurd delivery comes at Blue's funeral spoiler!
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You're my boy. Dude, Where's My Car? That's the early s for you. Pride and Prejudice Before he achieved prestige-TV immortality with his role as the sweetly conniving doofus Tom Wamsgans on HBO's money-obsessed drama Succession , actor Matthew Macfadyen was perhaps best known for his turn as the charmingly aloof heartthrob Mr.
Darcy in Joe Wright's fog-drenched adaptation of Pride and Prejudice. Competing with Colin Firth's beloved take on the character was no easy task, but Macfadyen makes the most of his final declaration of love, which Wright shoots like a sumptuous perfume ad. As he works up the courage to tell Keira Knightley's Elizabeth Bennett how he truly feels, the words "you have bewitched me, body and soul" come tumbling out of his mouth. Though it might sound like the perfect swoon-worthy literary musing, the line doesn't appear in Jane Austen's novel; instead, it was the invention of the film's screenwriter Deborah Moggach, who bewitched a whole new generation with this tear-inducing monologue.
Sluts rock! Take a shower. It's a goldmine, folks! Ultimately, we settled on this one from Amy Poehler's theater enthusiast Susie, who tells the camp kids to saddle up for the musical number from Godspell they'll be performing for the talent show -- which Bradley Cooper's Ben is producing and Susie is directing-slash-choreographing. This D-plot concludes when Susie announces the kids later at the talent show: "Before we start, I'd just like to say the campers you're about to see suck dick! But nevertheless, please welcome them.
In fact, that interaction between ingenue and weathered celebrity has been with the story since But something about the drawl Bradley Cooper put on to play Jackson Maine turned the line into a minor internet phenomenon. He and Lady Gaga's Ally have just spent a delirious night together that ended in a supermarket parking lot, composing "Shallow" off the cuff. When he drops her off, he stops her. Garden State The inclusion of a Garden State quote on this list generated some controversy among the Thrillist Entertainment crew, since it comes from a movie that in is nearly universally derided, but which in was loved unironically enough to turn it into a surprise cult hit.
Fans weren't just twee indie men pining for a "manic pixie dream girl," a term Natalie Portman's Sam helped inspire -- they were teenagers and young adults who identified with the sense of privileged malaise and vague sadness that runs through the film, and they probably harbored a fantasy that love could cure them.
It may be cringeworthy to look back on the scene in which Portman excitedly tells Zach Braff's zombified Andrew Largeman that name! The scene also points to the enduring legacy of the Garden State soundtrack, which itself has become part of a socially acceptable opinion: "The movie sucks, but the soundtrack is great! Pirates of the Caribbean: The Curse of the Black Pearl There's one character in the entire Pirates of the Caribbean franchise who was appropriately pirate-y, and it was Captain Barbossa, played with signature flair by the scenery-devouring Geoffrey Rush.
He's a reminder that, before we all started to hate them, these movies used to be fantastic, and nothing comes close to the zombie-pirate terror of The Curse of the Black Pearl. Things go from regular period piece to nearly a horror movie when Elizabeth Turner is exposed to the reality of the doomed sailors onboard the Black Pearl: when the moon hits their eyes like a big pizza pie that's when their skin dissolves into shreds of decaying flesh and tendons and not even bullets can kill them.
Barbossa growls this iconic line at Liz before she flees into the belly of the ship, and then he slams the door shut and lets out a crunchy belly laugh that sounds like a bunch of bones being scraped together. Shaun of the Dead Edgar Wright's zombie movie spoof Shaun of the Dead is full of recurring bits and visual gags: one opening scene is recreated midway through the movie with the added spice of zombie mayhem, and another great sequence uses stitched-together television clips to foreshadow the bloody mayhem that's to come.
Throughout the whole thing, various characters pause their conversations with protagonist Shaun Simon Pegg to tell him, "You've got red on you," pointing to an ink stain on his shirt from an open pen in his pocket and, later, blood spatters from, you know, ganking the walking dead, turning a gory, gross horror movie trope into something hilariously mundane. Juno Juno announced Diablo Cody's arrival as a distinctive new screenwriting voice, but her quirky dialogue ultimately gained her as many haters as adoring fans.
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When Olivia Thirlby's best friend character declares "honest to blog" incredulously, in reaction to the news that Ellen Page's Juno is, in fact, pregnant, she essentially summarizes all arguments for and against Cody's hyper-specific brand. Revisit a featurette on the movie and you'll find cast and crew praising her script for its realism , which feels inaccurate looking back.
It's just how different Cody made her teens sound that now stands out and deserves as much praise as it does scorn. In the comics, Groot wasn't always so lacking in vocabulary, but when he made his big screen debut in his repetition became an adorable defining characteristic. To be honest, "I am Groot" isn't just one line -- it's all of the loyal tree's lines.
Vin Diesel had no easy task voicing the creature, but his subtle inflections turned a monosyllabic hunk of bark into a celebrated pop cultural figure. The unlikeliness of "I am Groot" ending up here is akin to the unlikeliness of Guardians become Marvel's breakout hit: It's weird, but it works. On the day of her wedding, Toula Nia Vardalos, who also wrote the film wakes up with a zit or mosquito bite, who's to say? This magical thinking rubs off on her new husband Ian John Corbett , who put some Windex on his zit on their wedding morning, making it disappear.
It became such a bit for all the people who had seen the movie too: There were several pieces written, citing dermatologists, that Windex is not, in fact, a wonder drug. Lady Bird It's commonly thought of as bad writing to use the word "titular" -- i.
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That's probably why it's so wonderful when Lady Bird's best friend Julie Beanie Feldstein lobs "titular" as an over-enunciated insult during a fight. Lady Bird, having fallen under the spell of some cool kids, did not come to claim the role she was assigned for the school play. What's that role? The Tempest in, well, The Tempest. As far as villains go, Tobin Bell's mask-wearing Jigsaw was always on the chatty side -- not prone to Freddie Kruger-like puns, but also not a silent slasher like Michael Myers or Jason -- and his video message to poor Amanda Young, fighting for her life in a reverse bear trap in the first-ever Saw , is a stark bit of instructional sadism from screenwriter Leigh Whannell, who flipped the studied terror of Seven into an even grimer low-budget brainteaser.
He's establishing the convoluted rules of a game you'd never want to play, rewriting the recent history of the horror genre in the process. Unbreakable How do you both follow up one of the most shocking twist endings of the '90s and one of the most quotable horror one-liners of all time?
If you're filmmaker M. Night Shyamalan, you escape the shadow of "Bruce Willis was a ghost the whole time" and "I see dead people" by writing a moody, somber family drama that reveals itself to actually be a moody, somber superhero origin story.
Glass," whispers Samuel L. Jackson's tragically villainous Elijah Price in Unbreakable 's final moment, James Newton's haunting score swelling in the background as the audience figures out the deception at the heart of the story. The film was considered an odd move at the time, failing to recapture the critical and commercial highs of The Sixth Sense , but Unbreakable's passionate defenders responded to the emotionally rich mix of melodrama and pulp, and Shyamalan got the last laugh, eventually continuing the story with the less quotable thrillers Split and Glass.
Meet the Parents You can probably trace Robert De Niro's underwhelming late-career moves like Dirty Grandpa to the mainstream commercial success of Meet the Parents , a franchise that spawned two sequels. Why not play an older guy who will say exactly what's on his mind when the formula has paid off in the past? Stiller's Greg, caught in another lie, attempts to tell the story of how he milked a cat, eliciting one of De Niro's intensely probing responses delivered without a trace of humor or irony in his voice.
It's the kind of line that everyone in the whole family will find funny, achieving a universality you'd expect from a movie that turns the most reductive stereotypes about marriage and family into a lucrative comedy. Still, it's tough to totally blame Miller, Butler, or even Snyder for the quote's ubiquity amongst a certain strand of beer-slamming, weight-lifting brutes in the mid-to-late '00s.
By the time the line became a punchline in the odious spoof Meet the Spartans , delivered with a big wad of spit and a giant smirk, the joke was already dead. Bend It Like Beckham There's simply a funny melody to the backhanded insult a seamstress directs toward aspiring soccer star Jess Parminder Nagra in Bend It Like Beckham when she's miserably getting fitted for a sari. Jess' sister is chided by their mother for wanting her garment to act as a push-up bra, but the older women are desperate for Jess to show off any of her body. It's a miniature encapsulation of the notions of womanhood our heroine battles against over the course of the movie.
The Bling Ring Sofia Coppola's films aren't inherently quotable. In fact, arguably the most indelible moment she ever constructed revolves around an impenetrable whisper in Lost in Translation. We considered putting that on this list, but we still don't know what Bill Murray said to Scarlett Johansson. The Bling Ring is an outlier. Coppola put her own stamp on the true and entrancing story of a bunch of teens who robbed celebs, the likes of Paris Hilton and Lindsay Lohan , in the early aughts.
There's perhaps nothing in her dreamy film as memorable as one of the real-life teens sobbing "Nancy Jo, this is Alexis Neiers calling" into the phone on the reality show Pretty Wild , but one moment comes close : Emma Watson, blunt in hand, popping her hip to the side and whining, "I wanna rob ," in an effort to get her friends to break into Paris Hilton's house. The Year-Old Virgin The bro-nerd comedy that made Steve Carell a bankable movie star features, like all the Judd Apatow-adjacent comedies on this list, a wide range of quotable lines.
But the wrongheaded masculinity of "You're putting the pussy on a pedestal" -- advice offered by Romany Malco's Jay and Cedric Yarbrough's unnamed dad at the health clinic -- shows the ironic charm that makes the hokey premise of this sex comedy work. While the phrase has been unfortunately co-opted by misogynist online communities, in the film it's just a dumb aphorism beloved by overconfident bros.
Jay speaks to Carell's Andy with learned authority while the four SmartTech employees are killing time by smashing lights. Then a random dad decides to insert himself into a stranger's life after they meet at a health clinic: The whole point is that it's a stupid thing to say! As Andy himself asks, "What are you even talking about? What does that mean? School of Rock Let's get one thing straight: Richard Linklater's School of Rock absolutely stands the test of time.
Of course, shouldering most of its lasting greatness is Jack Black's performance as Dewey Finn, a deadbeat musician who steals his roommate's substitute teaching job, turning the classroom of serious private school kids into bona fide rockers. Part of that transformation entails Dewey showing the students that the skills they've already picked up from school band are applicable to rock 'n' roll.
Just turn that big, four-stringed instrument on its side and, cello -- you've got a bass. Kill Bill: Vol. We're met with that bloodlust at the very beginning of Vol. With a monologue recap of the first film, looking just beyond the camera, she "roared and rampaged and got bloody satisfaction," and now she's ready to murder the one man she's dreamt of killing for years. Her angry confidence in saying what we've been waiting for makes your blood boil with sadistic excitement -- we're also ready to watch one of Tarantino's few female protagonists come for the killing.
You know she's going to get the job done. Obsessed "Come here, bitch. Obsessed is not a great movie -- much of it is dull and derivative -- but it comes alive in the final stretch, enlivened by the intensity of the performances and the tawdriness of the material.
Best in Show Christopher Guest's dog show comedy is hard to encapsulate in a single quote. Sure, there are lines you can reference, but it's more about the characters his ensemble digs deep to create. The humor comes from getting to know these weirdos, who sometimes say hilariously un-self-aware things. Early in this dog show satire we're introduced to Jennifer Coolidge's daffy poodle owner Sherri Ann Cabot and her very old, very rich husband Leslie. While he remains silent she tries to convince the audience that they have so much in common: Soup, the outdoors, snow peas, talking, not talking.
Coolidge's convoluted delivery is so precise it seems scripted, even though Guest's movies are largely improvised. In Doubt , this happens at least three times, maybe 10, maybe , starting with the first scene. But it's the last scene, the fraught, melodramatic conclusion, that contains its single best line, whispered with great feeling by Meryl Streep. It comes after Meryl and Amy Adams oust a priest from their school who they think has been abusing young boys, but no one ever saw any actual proof, so there's still a tiny chance, in Meryl's character's mind, that he never did anything.
But that's not important.
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You don't even need to have seen the movie to know how to wield this line in any social situation that requires an appropriately distressed Streep impression. Jennifer's Body Screenwriter Diablo Cody's follow-up to Juno , for which she won a shit-ton of best original screenplay awards, including the Oscar, was Jennifer's Body.