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.
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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. 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. Directed by Karyn Kusama, it's a revenge horror-comedy unapologetically made for girls, and that completely baffled most critics at the time.
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A demonic indie band fronted by Adam Brody in emo eyeliner sacrificing Megan Fox's Jennifer -- crowned hottest woman on the planet by every men's magazine -- accidentally turning her into a boy-eating succubus, was just too much for people read: men who paid the ticket price to ogle.
Jennifer's Body has been somewhat vindicated in the last few years, with the new crop of bloggers and critics proclaiming that the film was way ahead of its time and a feminist horror classic full of sharp, ironic humor, and hinged on a poignant MeToo story long before the movement began. But the film's opening line, in a voiceover by Amanda Seyfried's Needy, was a Tumblr anthem to puberty and the depth of emotions young women endure, long before the righteous revisionism began. Napoleon Dynamite No one expected the world to embrace the odd patch of Idaho that birthed Napoleon Dynamite and his friend Pedro, but boy, did it ever.
Like so many other movies featured on this list, Napoleon Dynamite wasn't just popular, but a lexical phenomenon that helped return to common use non-profanities like "Heck yes! Napoleon's brazenness and social ineptitude capture the uncomfortable feeling of being a high school outcast desperate for attention, but the scene goes beyond what most people can relate to when he stuffs Pedro's tots in the side pocket of his zip-up cargo pants. It's a moment of Dada logic in a film that had so many people asking, "What the hell is this?
Snakes on a Plane Snakes on a Plane is a convincing argument that the internet might have been a terrible mistake. Pre-release speculation led to reshoots where the "motherfuckin' snakes" line, along with more R-rated violence and nudity, was filmed to please the growing snake-crazed fanboy army. I have a vivid memory of getting a personalized robocall featuring the voice of Samuel L.
Jackson telling me to go see the film. Then the movie came out, riding months of hype, and it mostly sucked, perhaps proving that B-movies shouldn't be crowd-sourced by bored forum-dwellers. While Snakes on a Plane now plays like a cautionary tale about the cornieness of "totally epic" mid-'00's humor, what's disturbing is that Hollywood has only gotten craftier at cynically stripmining viral enthusiasm for a quick buck in the last decade.
Blame the motherfuckin' snakes. Love Actually Love Actually doesn't exactly top Breakfast at Tiffany 's in the Widely Loved, But Very Problematic Movie department, but it makes its best effort through pretty much every one of its 18, running storylines, culminating in the scene where Mark Andrew Lincoln turns up at Juliet's Keira Knightley house with a series of the creepiest romantic flashcards ever created. Lincoln himself called his character a "creepy stalker," maybe because Mark films no one but Juliet during her wedding to Mark's best friend , or because he shows up on Christmas silently proclaiming undying love for the woman who literally just married his best friend.
Seems like he might have had a chance to pull the flashcard stunt in the months or years preceding Christmas. The treacly tagline that "love actually is all around" is driven home by Mark's desperate plea, one of those grand movie gestures that calls to mind John Cusack's Say Anything boombox. While much of Richard Curtis' script expresses more ambivalent feelings toward love than the title suggests, the cue cards have lived on as a meme, and "To me, you are perfect" has repeatedly bailed out romantic partners with nothing original to write in birthday or Valentine's Day cards.
Bean wraps presents so slowly! It's one of those "just go with it" premises that's made explicit in the poster and trailer, but is reinforced in a scene that comes before the opening credits, a kind of "record scratch, freeze frame" setup that shows Eddie at the end of his rope, with unknown bad guys closing in before we rewind to get the full story.
In voiceover while he teeters on the edge of a skyscraper, Eddie reflects on his current state, lamenting the gaps in his otherwise airtight IQ: "I'd come this close to having an impact on the world. And now the only thing I'd have an impact on was the sidewalk. Certainly not. But it's the kind of dumb, repeatable line that makes good-bad movies so enjoyable. But, what better way to take back our power and agency from patriarchal depictions of desire than to meme the living daylights out of its weirdest scene?
Look up "My tastes are very singular" on YouTube and you'll get everything from video game consoles to anime girl body pillows to One Direction theme bedrooms. Anything is better than a "Red Room of Pain. American Psycho Mary Harron's adaptation of Bret Easton Ellis' savage satire of Reagan-era American capitalism does so much more than capture the brutality and humor of the book.
With Christian Bale as the psycho, Patrick Bateman, his extreme aversion to human social interaction takes on a deathly serious tenor as embodied by the line Bateman uses to get out of any situation fast. It's a wholly unbelievable excuse that reveals how little empathy and social awareness Bateman possesses, especially when he uses it as an alibi and immediately following a claim that he's "in touch with humanity. Try it out the next time you're breaking up with someone, or are being questioned regarding a coworker's suspicious disappearance. X-Men Buffy the Vampire Slayer creator and Avengers director Joss Whedon worked on a draft of the first X-Men script that was almost entirely scrapped, but in interviews over the years, the writer has taken credit for two distinct comedic lines that made it into the movie.
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First, there's the Wolverine " You're a dick " quip to Cyclops, which is a perfectly fine piece of comic-book banter. The other one, which Halle Berry's Storm delivers right as she electrocutes the villain Toad in front of the Statue of Liberty, is more controversial. In a interview with Entertainment Weekly , Whedon called it "terrible" and criticized Berry's delivery, saying, "she did it like she was King Lear.
Club in that she "said it like she was Desdemona," proving the guy really does love his Shakespeare references. I'd argue that Berry's performance -- in a series that rarely gave her much to do -- is actually what makes it so memorable. She goes for it! Despite the box office and critical success of the Marvel Cinematic Universe, you won't find many quotes from those movies on this list because the sitcom-like sheen to the dialogue and the slightly irreverent house style renders much of it completely disposable.
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Unafraid to play with cheesiness, Berry elevated a corny gag to camp poetry. Moonlight Moonlight , the Best Picture-winning sophomore feature from director Barry Jenkins, was the result of such delicate, thoughtful alchemy. Jenkins' lush visuals, inspired by the work of Hong Kong filmmaker Wong Kar-wai, supplement the poetic words of playwright-turned screenwriter Tarell Alvin McCraney , who developed the script as an unproduced conceptual theater project at Yale in the late '00s, and both elements are brought to life by actors like Alex Hibbert, playing the impressionable young Chiron, and Mahershala Ali, playing the wise drug dealer Juan.
The intimacy of the "in moonlight, black boys look blue" monologue, which finds Ali telling a personal story and embodying the voice of "this old lady" from his childhood in Cuba, is different than many of the more abrasive, explosive quotes on this list. It can't be reduced to a meme or deployed as a GIF. But in a film built around small gestures, it has a profound, reality-altering power. The line transports you through time and space, the vulnerability of the performer and the character working in perfect harmony.
Bring It On It's quite honestly insane that UCB staple Ian Roberts was Sparky, the pill-popping choreographer putting high school cheerleaders through boot camp to "transform [their] robotic routines into poetry written with the human body. Clearly just a derivation of jazz hands , "spirit fingers" was one of the defining schticks of Bring It On , directed by Peyton Reed his first film -- he would later go on to make Ant-Man , and a damn good one at that.
Magic Mike Remember how everyone collectively lost their shit when Magic Mike came out? Directed by Steven Soderbergh I know, right? Hot, half-naked buff men thrusting on screen will do that, it seems.
The tone of Magic Mike is set masterfully: In the first, like, two minutes, there's the one-two punch of Matthew McConaughey's Dallas, owner of club Xquisite, delivering the rules of the show to a room of screaming women in one of the most insane monologues he's ever given in film and he was a nomadic poet in a Harmony Korine film , for chrissakes , followed by an unimpeded shot of Tatum's butt. Rowling's Harry Potter stories is rooted in a raw, powerful fantasy of youth: Discovering that you're more special, more unique, and more magical than the other children around you.
When Robbie Coltrane, the burly Scotish actor tasked with bringing the half-giant Hagrid to life in Chris Columbus's first Harry Potter film, leans forward and says the line, "You're a wizard, 'arry," Daniel Radcliffe, still a fresh-faced kid at this point, reacts with what looks like the beginnings of mischievous smile, hinting that he knows this is the truth he's been searching for. It's not exactly a shock.
Yes, his eyes then bug out as he asks, "A what? Hagrid's proclamation, one of the many economical and poignant bits of dialogue in Steve Kloves's script, is the sound of a door opening, inviting the boy to a world he can't quite imagine. In his heart, 'arry was always a wizard, but he needed to hear it out loud to confirm it was true.
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