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Iconic and Hilarious Movie One Liners in Film - StudioBinder

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Comedic and Iconic Movie Lines: The Best One-Liners in Cinema

O ne-liners can be hilarious. Other movie one-liners are deep, even dark, while others are just straight up weird. Regardless of the genre, they’re usually remembered long after the movie’s release, and the words can impact an entire generation. Don’t believe me? See if you’ve ever said or heard any of these phrases in conversation. You might not even know what movie they’re from. But that’s okay!

We’ve curated a list of some of the best funny movie one-liners, some dramatic examples, and even a few creepy mentions. Let’s take a look.

Iconic, Dramatic, and Funny Movie One-Liners

The best movie one-liners.

Ranking seems silly but we did it anyway. We didn’t rank by category, just based on a gut feeling and what the line did for the scene or film.

What’s considered “the best” is always up for debate, and honestly, I’m not a fan of ranking. But, just for fun, let’s start with some classics and see where we end up.

MIDNIGHT COWBOY

55. “i’m walking here”.

If you missed Dustin Hoffman's performance in Midnight Cowboy , you likely didn't miss the famous phrase it bore. You know a line is truly indelible as this one when it gets parodied this many times.

Midnight Cowboy gives not only a line, but an attitude

54. "i'm as mad as hell, and i'm not going to take this anymore".

You may have never seen Network, but it's strangely relevant for today's socioeconomic and political climate. Whichever side you sit, it's also just really good movie.

Speech from Network sounds weirdly relevant today

Jerry maguire, 53. “show me the money”.

Reiterated in many movies (most notably Austin Powers), "show me the money," is surely used by everyone, even those who have never seen Jerry Maguire .

Tom Cruise and Cuba Gooding Jr. "show me the money" scene

Toy story 2, 52. “to infinity and beyond”.

Now, I'm not sure this one-liner necessarily "beats" the few above in quality or depth, but its use spans (at least) two generations. Not to mention, the sequels are actually pretty good.

This also became the Buzz Lightyear toy catchphrase

It: chapter one, 51. "now i'm gonna have to kill this f***ing clown.".

Actor, Finn Wolfhard delivers the line and it's probably the more badass than all of his lines from Stranger Things, combined.

It movie ending one-liner

When harry met sally, 50. "when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.".

And now we side-step over to romantic comedies. Cheesy or adorable, maybe a little bit of both, When Harry Met Sally boasts a few memorable one-liners. We'll see another a little later in the list.

Billy Crystal's one-liner

49. “love means never having to say you’re sorry.”.

Aw, how many decorative wall art pieces did this inspire. Just kidding, cheesy or not, this line has been repeated a number of times since the film's release in 1970.

Run with him to a minute and 30 seconds to hear the line

48. “shaken, not stirred.”.

For every corny dad out there, or maybe just for mine, because that's definitely how I learned this line. Luckily, I stopped saying it by the time I was actually old enough to order a drink.

This line was said in many Bond movies

Sudden impact, 47. “go ahead, make my day.”.

Clint Eastwood had to make the list, so we went ahead and added this iconic scene from Sudden Impact.

Wait for the one-liner towards the end of the scene

46. “here’s lookin at you, kid.”.

So famous and so iconic, you know that's true because this one really does span generations.

One the most famous lines of all time

45. “i’ll be back.”.

Said in the Terminator voice, of course. And often quickly followed by "Hasta la vista, baby." May we never forget how our 10-year-old selves used to leave a room.

Arnold Schwarzenegger in Terminator

Field of dreams, 44. “if you build it, he will come.”.

Not to be confused with "if they build it, they will come," which never actually said in this film. But I guess people hear what they want to hear, thanks to the real phrase for giving us something to work with. Below, wait for it at about one minute and 30 seconds.

Life lessons from Field of Dreams

E.t. the extra terrestrial, 43. “e.t. phone home.”.

Yeah, sometimes we say this one for no real reason at all. It's cute, and it's a little weird, just like the movie.

Drew Barrymore is almost as adorable as E.T.

Taxi driver, 42. “you talkin to me”.

The best part about this iconic movie one-liner is that it comes directly from De Niro improvising.

Taxi Drive infamous movie one-liner

The shining, 41. “here’s johnny”.

And then there are those that are iconic because the level at which they freaked us the hell out. I've heard people say this in real life, and I really question who they are as a person.

And there he is: Jack Nicholson in the Shining

40. “houston, we have a problem.”.

We do don't we? Because whenever you hear this phrase, there usually is an issue with whatever situation you're in. The gravity of how often this phrase is used is overwhelming. Pun absolutely intended.

Tom Hanks delivers the famous line

39. "yippie-ki-yay, motherf—er.".

Bruce Willis added the "the mother f--ker" part for fun. It did so well with the test audience, it stuck.

Sometimes actors write the lines

A league of their own, 38. “there’s no crying in baseball”.

Sage advice from Tom Hanks' Jimmy Dugan that can be applied to any situation. Love this film and this line.

A League of Their Own movie one-liner

37. “i’m the king of the world”.

I've said this at least a hundred times as a kid. And maybe even as an adult, just in my head.

Liberating movie one-liners

The usual suspects, 35. "the greatest trick the devil ever pulled was convincing the world he didn't exist.".

I didn't even realize this was from a movie, I just assumed some sage said it. Maybe they did. Either way, it entered into the cultural ether in The Usual Suspects .

One-liners frame interesting perspectives

Best in show, 34. “we could not talk or talk forever and still find things to not talk about.”.

It doesn't really matter what's being said in this movie, it's all hilarious because the characters are incredible. To refresh your memory, or if you've never seen Best in Show , watch below.

Best in Show one-liner

Star wars: the last jedi, 33. "the greatest teacher, failure is.".

Ah, yes, how could we leave Yoda out. Forget, we must not. Include him, we must. I don't know. Here's a good one-liner from Yoda.

Learning from Yoda's one-liners

Spider-man: homecoming, 32. "if you're nothing without the suit, then you shouldn't have it.".

It's too new to be iconic, but I think it has the most depth than the majority of this list. Maybe one day it will be considered iconic, but for now, I'll just appreciate it for it's truth.

Robert Downy Jr. schools Spiderman

When harry met sally, 31. “i’ll have what she’s having.”.

Iconic, fun, and has probably been repeated by anyone capable of speaking. The rando who delivers the line is definitely not talking about food, but that's typically how it's used in real life.

When Harry Met Sally has a few one-liners

30. “i am serious. and don’t call me shirley.”.

Airplane! I love this movie! The humor can be enjoyed by literally anyone, and the plays on words are almost too perfect.

Anyone who knows it probably loves this line

Frankenstein (1931), 29. “it’s alive it’s alive”.

If this list reflected the most known phrases, this would be number one. It's actually a little creepier than I remember. I said it as a child so many times but now that I watch the clip, I'm not sure I'll want to pass it along to my own kids. Though, I'm sure they'll hear it somewhere.

The original "It's alive!"

The jazz singer (1927), 28. “you ain’t heard nothin yet.”.

There could probably be separate article just on how many times this one-liner was used in cinema. But it originated in 1920s.

How many times have you heard this?

Almost famous, 27. “i am a golden god”.

I'm not sure how often this is yelled from rooftops, but I personally have always wanted to.

"I'm on drugs" isn't a terrible preface to this one-liner

26. “as if.”.

Quite possibly one of the greatest teen movies of all time, Clueless created its own language, way before Mean Girls was a thing.

90s one-liners are always a favorite

The big lebowski, 25. “the dude abides.”.

He sure does. I mean, is it really a one-liner or is it more of a motto? What's the difference? In light of the Dude, whatever.

Funny movie one-liners

24. “you’re gonna need a bigger boat.”.

Classic, iconic, and over-used. But it definitely deserves a mention.

Infamous movie one-liners

23. “may the force be with you.”.

So powerful, May the fourth is now Star Wars Day.

Bordering historic one-liner

22. “i am your father.”.

This line is so ubiquitous, it's hard to imagine how powerful this twist actually was.

Where would the movies be without this scene

The wizard of oz, 21. “i'll get you, my pretty, and your little dog, too".

One of the most known phrases in cinematic history, this one-liner can give a child and a 90-year-old something to talk about.

Wizard of Oz one-liner

20. “your aura is purple.”.

Another Almost Famous line because what a great movie. Hippies love this one. I love this one. Your parents probably have never heard of it.

Almost Famous is filled with great one-liners

Bridesmaids, 19. “i’m glad he’s single, because i’m going to climb that like a tree.”.

Melissa McCarthy makes my life. She spits out ridiculousness regularly and while they can't be considered "classics" just yet, at least one of her lines deserves a spot.

Bridesmaids movie one-liner

The godfather, 18. "i'm going to make him an offer he can't refuse.".

Back to basics, but not in the boring sense. This is one of those sayings that you probably forgot where it originated from.

The Godfather famous lines

Pulp fiction, 17. “they call it a royale with cheese.”.

Of course, we couldn't have a list of lines without Tarantino. John Travolta delivers hits magically delicious line in Pulp Fiction.

Try ordering this out

16. "toto, i've a feeling we're not in kansas anymore.".

I think I heard someone say this before I even saw the movie, which is actually hard to accomplish, because this is like the first movie every child sees.

Great set design aided this iconic phrase

Apocalypse now, 15. "i love the smell of napalm in the morning.".

The fact that this one caught on in mainstream society reminds just how weird and awesome people can be.

Famous Apocalypse Now move line

14. “say hello to my little friend”.

Al Pacino gives us the best (violent) one-liner probably in cinematic history. It's ridiculous, and if we heard it today, it probably wouldn't even stick. But for some reason, Al Pacino in 1983 as Tony Montana wins every time.

One of the most notorious lines in movie history

13. “there’s no place like home.”.

This phrase and those ruby red slippers will be around forever.

Most famous Wizard of Oz line

12. “leave the gun. take the cannoli.”.

This probably should've been lower on the list in comparison to the "classics," but honestly, it's my favorite, and I say it's number 12.

Best movie one-liners

The godfather part 2, 11. “keep your friends close, but your enemies closer.".

So many quotes, life lessons, and ideas came from this franchise. It's crazy to think about how many parts of our speech and ways we think, actually came from cinema, especially mafia cinema.

Part 2 still delivering

10. “this is not ‘nam. this is bowling. there are rules.”.

This one isn't "better" than The Godfather's lines, it's just number 10 because it's different, it's unique, and it's also perfectly stupid for this stupidly perfect movie.

John Goodman delivers the line

Gone with the wind, 9. "frankly, my dear, i don't give a damn.".

The OG of the best movie one-liners.

Gone with the Wind clip

Dr. strangelove, 8. “gentlemen, you can’t fight in here. this is the war room”.

Even if you haven't seen it, just read it, it's amazing.

Older one-liners

7. “what is this a center for ants.

Popularized amongst millennials, this one-liner has weirdly become one of the most comedic ways to express the size of anything.

Perfect way to end the film

The dark knight, 6. “why so serious”.

This phrase introduced us to Heath Ledger's Joker. The first time we see him in The Dark Knight , is the first time we hear it, it was powerful then, and it still is now...though, still super creepy.

Ledger's line introduces us to his character

Jerry maguire, 5. “you had me at hello.”.

Probably the most romantic movie one-liner ever. I wish I could go back to the day I heard it for the first time.

Watch the full scene

Back to the future, 4. “roads where we’re going, we don’t need roads.”.

I still say this, all the time. It makes no sense when I say it, and that's the power of it. It's fantastical, quirky, and everybody loves it.

Back to the Future one-liner

3. “she doesn’t even go here”.

This line is in this particular spot because I think it's more difficult for younger films to get noticed for their incredible one-liners. Films like The Godfather , Star Wars , or what's considered "classic cinema" tend to get all of the attention for noteworthy lines.

She doesn't even go here

The silence of the lambs, 2. “i’m having an old friend for dinner.” .

I cringe just thinking about this, but it's also so good and perfect for what's actually going on in the film.

What a line

1. "i told you not to go in that house.".

Okay, so this line may not be something repeated for generations, but it will definitely be remembered. It brings the film full circle and it's a near perfect ending. It may not be a universal line like those in The Godfather , but I put it here because not only does it provide comedic relief for the scene, it provides it for the entire film.

One-liners bring comedic relief in Get Out

Best movie taglines & why they work.

You saw some of the best examples of one-liners in movie history, but how good are you at describing the entire film in a line. If you're a writer, you'll probably have to do that at some point. Learn from the best in the next article.

Up Next: Best Movie Taglines →

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Best Movie One Liners: Top One Liners From Films

Ever watched a movie and found yourself repeating that one killer line over and over?

We’ve all been there, caught up in the magic of a perfectly timed zinger that’s both iconic and endlessly quotable.

From the chilling to the chuckle-inducing, we’re diving into the realm of the best movie one-liners that have left their mark on cinematic history.

Get ready to nod in agreement or even discover a few gems you might’ve missed.

MOVIE ONE LINERS

What are movie one liners.

Movie one-liners are memorable, succinct phrases from films that capture the essence of a character, a moment, or the film itself.

These lines often become part of popular culture and are remembered long after the movie’s release.

They can be humorous, dramatic, poignant, or inspirational, and are typically delivered at pivotal moments in the film.

Their effectiveness lies in their ability to convey a significant idea or emotion in a concise and impactful way.

Classic Movie One-liners

In the tapestry of cinema, certain threads are woven with more vibrant hues than others – iconic phrases that have transcended their silver screen origins.

The collective consciousness of moviegoers is often defined by powerful snippets of dialogue.

The Godfather gives us the chilling offer that’s impossible to refuse, embedding a sense of the Mafia’s invincibility in our minds.
From Dirty Harry, we’ve learned what happens when you feel lucky — or at least, when Clint Eastwood’s Harry Callahan challenges you to ponder your fortune.
When Scarlett O’Hara asserts that tomorrow is another day in Gone with the Wind, it’s more than optimism; it’s a testament to the enduring human spirit.

Not merely filler between action scenes, one-liners serve as narrative linchpins – a confluence of character, timing, and thematic resonance.

We find these moments in films like The Wizard of Oz, where a simple declaration of not being in Kansas anymore transports us into a fantastical odyssey alongside Dorothy.

https://www.youtube.com/embed/QBRCegxuOko

Some lines become the soul of the film itself.

For instance: In Casablanca , Rick’s “Here’s looking at you, kid” captures a timeless romance that lingers long after the credits roll.

Terminator’s “I’ll be back” merges the foreboding with the inevitable, etching Arnold Schwarzenegger’s character in sci-fi legend.

These one-liners offer a quicksilver quality – they encapsulate entire narratives within a handful of words, a feat of cinematic brevity that demands recognition.

As we jump further into our analysis, it’s clear that a great line is as much about delivery as it is scripting.

The actors breathe life into these words, making them immortal.

By examining such iconic quips, we’re not just remembering a flickering image on a screen.

We’re acknowledging the imprint these words have left on pop culture and our own viewing experiences.

These snippets of dialogue have set the stage for countless imitations and references across different media, further cementing their legacy.

As we explore various genres and eras, it’s apparent that the power of a succinct phrase can be just as impactful as the most elaborate monologue.

https://www.youtube.com/embed/Ki_qAyE-ytA

Action-packed movie one-liners.

Action films are synonymous with high-octane sequences and even more explosive dialogue.

It’s no surprise that some of the most unforgettable one-liners come from the genre that embraces thrill and spectacle.

These punchy quotes have done more than just underscore moments of intensity – they have become synonymous with the characters that deliver them and reflect the ethos of the action genre itself.

In Die Hard , Bruce Willis’ dry delivery of “Yippee-Ki-Yay, Motherfucker” elevates the moment from just another showdown to cinematic legend.

Similarly, Terminator’s “I’ll Be Back” is a perfect blend of foreboding promise and robotic terseness.

These statements are crafted with such finesse that they remain etched in memory, often outliving the movies they come from.

Action one-liners often serve a dual purpose –

They offer a release of tension during high stakes scenarios,
Provide character insights in an immediate, relatable manner.

Arnold Schwarzenegger’s penchant for catchphrases in films like Predator, with “Get to the Choppa!”, showcases his character’s urgency and leadership amidst chaos.

Meanwhile, Clint Eastwood’s “Go Ahead, Make My Day” from Sudden Impact exemplifies a no-nonsense attitude that’s become emblematic of his on-screen persona.

One-liners also reinforce the signature style of renowned directors.

Funny Movie One-liners

When we jump into the realm of comedy, movie one-liners are not just lines – they’re meticulously crafted verbal juggernauts that pack a punchline.

Films like Airplane and The Naked Gun have gifted us with rapid-fire wit that keeps audiences chuckling decades later.

These quips don’t just make us laugh; they often hold a mirror to society, parodying everything from politics to pop culture.

In the hands of comedic geniuses like Mel Brooks or the Farrelly Brothers, a one-liner can become the highlight of a movie.

Take for example the line There’s Something About Mary – “I say we need more lemon Pledge.

” It’s a subtle nod to not only the character’s personality but also the plight of the overlooked and underappreciated.

Throughout cinematic history, filmmakers have harnessed the power of humor to create memorable moments that resonate beyond the screen.

Ghostbusters: “Dogs and cats living together, mass hysteria!” – here’s a comedic prophecy that encapsulates the chaotic fun of the film,
Caddyshack: “So I got that goin’ for me, which is nice.” – a line that’s become synonymous with finding a silver lining in a bizarre situation,
Step Brothers: “Did we just become best friends?” – a question that’s echoed in real-life moments of bonding.

These lines, while hilarious, are more than just spoken words.

They’re culturally significant markers in film, acting as social commentary and offering insights into the human condition.

Understanding the context in which these one-liners were delivered is crucial, for they serve not only as entertainment but also as a reflection of the times.

Matt Crawford

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20 Best Movie One Liners of All Time

There are many things that make a film memorable. This can be a scene, a single shot or sometimes a dialogue that becomes a hit amongst the masses. A single line can cut across different groups of people and become part of pop culture. No one can really figure out why it happens, but there is just something about a particular line that makes it a big hit. In some cases, these one-liners are so popular that they are used to identify a movie. For example, ‘Die Hard’. And with the advent of meme culture, the legend of these dialogues is definitely growing.

The beauty of these lines is that they can be used in many different situations. So you can whip one out to surprise your friends or you can use them to process an event. There are many possibilities. So let’s have a look at the list of top most awesome one liners ever.

20. “I’m The King Of The World” – Titanic (1997)

The line became famous when it was uttered by Leonardo DiCaprio in the film. There are a couple of reasons for this. One, it expresses a feeling of achievement and it is also a great way to motivate yourself. Go ahead, say it, don’t you feel better ? The line also gained some notoriety when director James Cameron said it at the end of his speech after winning the Best Director Oscar.

19. “I’ll Have What She’s Having” – When Harry Met Sally (1989)

An example of a scene that gets elevated because of its punchline. The line said by Estelle Reiner, the mother of director Rob Reiner is the perfect way to cap a great scene. Although to be fair, credit has to be given to Meg Ryan for her very convincing performance. It is safe to say that without that ending, this scene wouldn’t have become iconic.

18. “This..Is..SPARTA” – 300 (2006)

This is a one-liner that does not possess the universal usage that other entries on this list have. What makes this awesome is just how exhilarating it is to see on screen. The moment when Gerard Butler says the line and kicks the guy in the chest, is bound to give you goosebumps. It is one of those visceral feelings that the film evokes and its popularity can be seen by the sheer number of memes that are made from it.

17. “I Like The Way You Die Boy” – Django Unchained (2012)

When it comes to crafting quotable dialogue, Quentin Tarantino is one of the best at it. And ‘Django Unchained’ is filled with them. But perhaps the most awesome and badass line of them all, would be this one. It is said by Jamie Foxx after killing someone, who deserved it. What makes it perfect is the delivery and timing of the line.

16. “I have come here to chew bubblegum and kick ass…and I’m all out of bubblegum” – They Live (1988)

Although this is an awesome line, what makes it memorable is just how idiosyncratic it sounds. Seriously just think about it. What an amazing way to deliver a threat. The line has added to the cult of the film and it has been parodied several times. Another great aspect of the line, you can use it in real life as well.

15. “Coffee’s For Closers Only” – Glengarry Glen Ross (1992)

It occurs during one of the most iconic cameos in film history. To be fair, all the lines Alec Baldwin utters are awesome and they set the tone for the film. This is especially remarkable because of his very limited screen time. Nonetheless he manages to leave an indelible impression. And this line that comes during that memorable scene, is the perfect way to top it off.

14. “King Kong Ain’t Got Shit On Me” – Training Day (2001)

In a performance that would fetch him an Oscar, Denzel Washington says many quotable things. This particular line of dialogue in the middle of a monologue, seems to have left the largest impression. Once again, this is something that you can use as motivation. Using this in many situations cannot be justified but at times, it really is worth saying it and for that we have Denzel to thank for.

13. “Show Me The Money” – Jerry Maguire (1996)

This is another film that is filled with memorable one-liners. But if you had to choose one among them, it would have to be this. It is contagious and when he’s saying it, you feel like screaming it out yourself. It is this aspect alone that makes it worthy of being awesome. It also works as a line that manages to encapsulate a character very well.

12. “Ever notice how you come across somebody once in a while you shouldn’t have fucked with? That’s me” – Gran Torino (2008)

Clint Eastwood’s career has reached a level where it can be used as a synonym for iconic. In his long career, he has had many one-liners that captured the people’s imagination. And this from ‘Gran Torino’ is one of his more underrated one-liners. Apart from being menacing and awesome in equal measure, it also shows that this is someone you do not want to mess with.

11. “I Dare You, I Double Dare You Motherfucker” – Pulp Fiction (1994)

If this list was about dialogue in general, this exchange would be up there with some of the very best. You could pick out quite a few lines from this exchange, but this one makes the cut. It is not only an awesome way to threaten somebody, it is also hilarious. And to Samuel L. Jackson’s credit, it doesn’t seem right when anyone else says it.

10. “60% Of The Time, It Works Everytime” – Anchorman: The Legend Of Ron Burgundy (2004)

Some lines become memorable because of how funny they are or how cool they sound. But sometimes the sheer absurdity of a piece of dialogue propels it to fame. ‘Anchorman’ is filled with many such lines. And this one said by Paul Rudd’s character perfectly captures the spirit of the film. It doesn’t sound funny when you listen to it the first time but it’ll surely grow on you.

9. “If You’re Good At Something, Never Do It For Free” – The Dark Knight (2008)

The demise of the great Heath Ledger robbed us of an incredible actor who left us with a few iconic roles. Chief among them being The Joker. While almost everything he says is quotable, this is an awesome and important line in the film. It shows us that not only is this guy crazy, he is actually sensible and calculating. A bonus is that we can use this in our lives as well.

8. “Yippee-ki-yay, Motherfucker” – Die Hard (1988)

When it comes to action films and action heroes, there are few who are more iconic than ‘Die Hard’ and John McClane. The line is used as a way of showing McClane’s confidence. But what is also does is to boost the confidence of the audience as well. It gives them something to cheer for and more than anything else: what a way to reply to someone when they think they’ve cornered you.

7. “I Love The Smell Of Napalm In The Morning” – Apocalypse Now (1979)

As a film that puts you right in the middle of the war zone in Vietnam, ‘Apocalypse Now’ succeeds in its intent with the harrowing visuals we get to see. But, a one-liner gives us a good understanding of the psyche of those involved in the war. Robert Duvall’s iconic line is not only cool, it also shows the man’s sheer love for war or in this case, napalm.

6. “Say Hello To My Little Friend” – Scarface (1983)

Tony Montana is one of the most badass characters we have seen on screen and it is fitting that he gets to deliver a really badass and not to mention awesome one-liner. The line has become one of the most famous quotes from a film. It is a thrilling scene that gets elevated thanks to Al Pacino’s killer (no pun intended) delivery.

5. “May The Force Be With You” – Star Wars (1977)

A line that serves many purposes. It is one of the most commonly used one-liners from a film. It can be used to motivate someone, wish them luck and so on. In fact, it because of this versatility that the line has developed a life of its own. In the film, it captures a great moment when Harrsion Ford says it and he’s finally won over by The Force.

4. “I’m Gonna Make Him An Offer He Can’t Refuse” – The Godfather (1972)

It is considered by many to be quite possibly the greatest film ever made. It certainly has some of the best dialogues in a film. The line establishes the myth that is Don Corleone. When he says it, we actually believe him. And also, it is an incredibly elegant way to word a threat. The line is so closely attached to Brando and the film that they are impossible to think of separately.

3. “You Talkin’ To Me?” – Taxi Driver (1976)

This may be one of the only times, a one-liner has made it to pop culture despite being directed at an imaginary person. Travis Bickle (Robert De Niro) speaks to the mirror as if he’s threatening somebody. What the scene and this line achieve is showing us a layer of Bickle’s personality, his loneliness etc. that make him who he is. It also has quite a chilling effect.

2. “Get Busy Living, Or Get Busy Dying” – The Shawshank Redemption (1994)

Not a quote you would expect to see this high on the list but there is a good reason for its presence here. We all know how inspirational a film, ‘The Shawshank Redemption’ is. It has many great lines that we can employ in our day to day lives. But in my opinion, this one takes the cake. This is because of the sheer simplicity behind the line that gives it a deep meaning.

1. “Frankly My Dear, I Don’t Give A Damn” – Gone With The Wind (1939)

Few lines are more iconic than this and it also great importance in the history of cinema. The usage of the word “damn” led to a change in the Production Code. Looking at the line, we can sense a man who has given up on his love for a woman. And it is one of the most eloquent ways in which you can dismiss someone. For those reasons alone, this deserves to be at the top of the list.

10 Best Movie One Liners

A great line can take a good movie and make it a classic. These one-liners are the best to ever be heard on the silver screen.

Great movie one-liners are hard to forget. These bits of witty or poignant dialog become popular, as they can be referenced in various outlets, sometimes becoming better known than the movies they originated from.

Related: 10 Best Fantasy Movie Openings

A great movie on-liner is not remembered because people have seen the movie, rather the movie is known through that one-line. Word of mouth is a powerful tool, and it is what has helped so many movie one-liners to become as popular as they are. One-liners are carried through time as they make appearances on shows, other movies, and social media outlets, taking on lives of their own.

10 "Go Ahead, Make My Day"

Sudden impact (1983).

Clint Eastwood's most famous role is as Dirty Harry in Sudden Impact . In the film, Eastwood has an abundance of great movie one-liners, but his line " Go ahead, make my day " stands out more than the others. People know this line regardless of whether they've seen the film or not.

This makes his line " Go ahead, make my day " one of the most notable lines of Clint Eastwood's acting career. The line is so notable in fact, that Clint Eastwood signed his own rendition of the popular movie line alongside his name and hand prints on Hollywood Boulevard.

9 "I'll Be Back"

The terminator (1984).

Arnold Schwarzenegger took his line " I'll be back " and made it one of the most famous movie lines in cinema history. Almost 30 years have passed since the release of The Terminator , and people still utter " I'll be back " before making their exit.

Related: 10 Movie Franchises That Got Progressively Worse

There are several other great lines that came from The Terminator franchise, but " I'll be back " has taken the number one spot. The line has become so iconic that Arnold Schwarzenegger cannot say those three words without viewers relating it back to his role in The Terminator .

8 "With Great Power Comes Great Responsibility"

Spider-man (2002).

While Uncle Ben's classic line " With great power comes great responsibility " has been known by comic fans for over 60 years, it was 2002's Spider-Man that turned it into a pop culture sensation. Twenty years later, and the quote is still being used in shows, movies, and by fans around the world. To make the quote more iconic it was re-used by Aunt May in Spider-Man: No Way Home .

Movie viewers don't need to have seen Spider-Man in order to know the famous line said by Uncle Ben. The line remains just as popular as it was twenty years ago. " With great power comes great responsibility" is a line that will live on for years to come.

7 "I Am Your Father"

Star wars: the empire strikes back (1980).

Star Wars has become a large franchise, and people do not need to be a fan in order to know that Darth Vader told Luke Skywalker " I am your father. " It was a moment of awe as those words were first spoken on screen. Fans had chills as the scene was filled with tension, making Darth Vader's line all the more empowering.

Related: 10 Best Star Wars Lightsabers, Ranked

The line was an attempt to persuade Luke Skywalker to join his father on the dark side. Darth Vader believed they would become more powerful if they were to join forces. Despite the line's popularity it often gets misused as " Luke, I am your father. " Regardless of its misuse, the line is considered to be one of the most popular movie lines.

6 "There's No Place Like Home"

The wizard of oz (1939).

After being lost in the land of Oz, Dorothy can't help but think " There's no place like home. " It is one of the oldest movie lines that can still be heard today. People will find themselves out and about at places they dislike and will reference the line " there's no place like home " while clicking their heels together.

The Wizard of Oz is nearing its 85th anniversary, and during that time, Dorothy's line has become rather famous and well-known throughout the world. " There's no place like home " is referenced by viewers, other shows, and movies as well.

5 "You're A Wizard, Harry"

Harry potter and the sorcerer's stone (2001).

The scene where Harry Potter meets Hagrid is both memorable and important to the Harry Potter series, both in the books and the movies. Hagrid states his iconic line, " You're a wizard Harry, " and Harry Potter is in disbelief. Not only is the line memorable, but the scene helps guide viewers to the beginning of Harry Potter's journey.

Hagrid's line " You're a wizard Harry " sets the foundation for the story. It is a turning point in both the book and the film. Hagrid's one line tells Harry more about his family and his past than he had ever known before.

4 "You're Killing Me, Smalls!"

The sandlot (1993).

Hamilton Porter, better known as Ham in The Sandlot repeatedly used his popular line, " You're killing me, Smalls! " throughout the film. In several scenes, Ham states his famous line, which adds a bit more comedy to the scene. Ham simply calls out his friend's lack of baseball knowledge by saying " You're killing me, Smalls !"

Hamilton's line is referenced across social media, among movie fans, and friend groups alike. Referencing Ham's line adds a bit of comedic flair to the conversation and gets people laughing. The line may very well be more popular than The Sandlot itself.

3 "You Shall Not Pass!"

Lord of the rings: the fellowship of the ring (2001).

In perhaps the most pivotal scene in Lord of the Rings: The Fellowship of the Ring, Gandalf sacrifices himself to save Frodo and the others from the Balrog. The powerful wizard paused to break the pathway as he yelled " You shall not pass! " and made his promise true as the Balrog plummeted into the abyss, but not before taking Gandalf along with it. Gandalf's line is one of the most memorable moments of the Lord of the Rings trilogy .

Surprisingly enough, it is not the same line that was written in the book. J.R.R. Tolkien wrote the line as " You cannot pass ." While both lines hold the same significance, is still uttered by fans today.

2 "Stop Blowing Holes In My Ship!"

Pirates of the caribbean: the curse of the black pearl (2003).

Throughout the Pirates of the Caribbean movies, Jack Sparrow says some very memorable lines. However, " Stop blowing holes in my ship! " takes the cake, as it is often used in memes and other references across social media. In Pirates Of The Caribbean: The Curse Of The Black Pearl , Jack Sparrow is held captive on his own ship and helplessly watches the Black Pearl be pelted by the Interceptor.

Related: 10 Actors Who Have Played More Than One Iconic Character

No one loves the Black Pearl more than Jack Sparrow, so it is understandable when he yells out his famous line while his ship is being bombarded by the Interceptor. Fans reference this line during moments when they feel the same kind of frustration Jack Sparrow felt.

1 "To Infinity And Beyond!"

Toy story (1995).

At the beginning of Toy Story , Buzz Lightyear believes he is real , and thus believes he can fly. With this came Buzz's famous line, " To infinity and beyond! " The line quickly became popular, as fans can no longer say " to infinity " without adding " and beyond " afterward.

Buzz Lightyear gifted fans with a memorable line to reference. The line only becomes more notable as Buzz's best friend Woody takes a turn with the catchphrase. Buzz says the line throughout the Toy Story franchise making " To infinity and beyond " hard to forget.

Next: 10 Movies That Don't Deserve Their Popularity (& Why)

One Life Review

01 Jan 2024

For those old enough to remember, a particular 1988 episode of That’s Life! , hosted by Esther Rantzen, was an iconic moment in British television history. Nicholas Winton, the man who rescued 669 Czech-Jewish children from the threat of Nazi Germany, was given a poignant reunion with the children he managed to save, many of whom made up part of the studio audience.

James Hawes’ One Life is a solid retelling of the events which led to that historic TV moment, although his feature-film debut, despite its parallels with conflicts happening today, doesn’t match the emotional heights of Rantzen’s show. The safe and conventional filmmaking here almost derails the intended power and importance of Nicholas’ achievements. But at least it offers a notable takeaway on how the ordinary can accomplish something extraordinary.

Lucinda Coxon and Nick Drake’s script splits its efforts between Maidenhead, 1987, and London, 1938. Tasked by his wife Grete (Lena Olin) to clear out his old things and let go of the past, the older Winton (Anthony Hopkins) — a hoarder extraordinaire — rediscovers his old scrapbook. He begins reminiscing about his pre-war efforts, when the young Winton (Johnny Flynn) visited Prague and had a life-changing experience, witnessing children in refugee camps, living in inhospitable conditions. Cue visas, trains, fundraising, record-keeping and cutting through the legal red tape to get the youngsters out of the country as the threat of war looms.

Hopkins delivers a heartfelt and sincere performance

Coxon and Drake keep things light and simple, opting for a formulaic approach heavily reliant on an emotionally stirring third act. However, such a move doesn’t always do its two-pronged storyline justice. The plot — a surface-level dramatisation at best — suffers from missed opportunities to meaningfully explore the psychological impact of the rescue, not just from Nicholas’ point of view, but also the eyes of others who were instrumental in the evacuation. Thanks to their lack of on-screen development, Romola Garai’s Doreen and Alex Sharp’s Trevor, the film’s major supporting characters, end up the biggest casualties left on the sidelines.

In spite of such shortcomings, One Life finds its strength through Anthony Hopkins. An actor whom you can always depend on, Hopkins delivers a heartfelt and sincere performance, capturing the melancholic gravity behind Winton’s pain, grief and regret over not accomplishing more. You feel that weight and nuance whenever he studies an old photograph or attempts to share his story with the press, making that powerful and cathartic conclusion worthwhile. Flynn is equally impressive as his younger counterpart. It’s in these performances that One Life really comes to life.

Movies | 07 09 2023

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‘one life’ review: anthony hopkins is in peak form in a stirring, if by-the-numbers, period piece.

James Hawes' historical drama about the effort to save children from the Holocaust co-stars Helena Bonham Carter and Johnny Flynn.

By Leslie Felperin

Leslie Felperin

Contributing Film Critic

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On the Line Reviews

A vengeful caller sending a frazzled shock-jock on an overnight odyssey isn’t a bad idea. But On the Line is the kind of movie that thinks it can win the game with a Hail Mary pass in the last ten minutes.

Full Review | Mar 26, 2024

The initial excitement dissipates...

Full Review | Original Score: 2.5/5 | Mar 27, 2023

The acting is across-the-board woeful, with Gibson all-but sleepwalking through his role, and the preposterous denouement serves only to compound viewers' suspicions that the whole affair has been a waste of their time.

Full Review | Original Score: 1/5 | Mar 23, 2023

A few snappy one-liners courtesy of a confident lead sadly don’t make up for, well, everything else.

Full Review | Original Score: 4/10 | Feb 23, 2023

Not a perfect movie by any means but the more I thought about it the more I liked it.

Full Review | Original Score: 6/10 | Dec 1, 2022

This is a really good Mel Gibson film.

Full Review | Nov 30, 2022

Gibson tries to capture that same manic energy here as the dark and edgy man-pushed-to-the-edge [Lethal Weapon's Martin Riggs] and does a good job of it - perhaps that was the attraction for him to this role.

Full Review | Original Score: 3/5 | Nov 23, 2022

Any tension is undermined by the progressively incoherent plot twists. As for the dialogue, a dial tone would be better.

Full Review | Nov 18, 2022

As a thriller it’s remarkably unthrilling and the big payoff might just have you throwing your popcorn at the screen. Terrible. Just terrible.

Full Review | Original Score: 1/5 | Nov 18, 2022

[Mel Gibson's] curmudgeonly persona has hardened to a point that leaves limited room to modulate, which is a problem when we’re meant to believe Elvis is living through the worst night of his life, rather than just another Tuesday.

Full Review | Original Score: 1.5/5 | Nov 17, 2022

As much as I dislike Gibson, he's not the reason the film smells like a bomb.

Full Review | Original Score: C- | Nov 15, 2022

Using the idea of a radio show to get across much of its action, this low-budget thriller might have worked had it not made several missteps that will leave viewers feeling frustrated and annoyed.

Full Review | Original Score: 2/5 | Nov 15, 2022

There are a few interesting twists that are reminiscent of early Fincher. [Full review in Spanish]

Full Review | Original Score: 7/10 | Nov 15, 2022

… feels like a protracted exercise in trolling the audience.

Full Review | Original Score: 10/20 | Nov 14, 2022

A poorly executed “thriller” that takes what could have been a slickly designed premise (not unlike such locational thrillers as Panic Room or Buried) and undoes any of its potential with laughable dialogue and unconvincing performances

Full Review | Original Score: 1.5/5 | Nov 10, 2022

Most viewers might be willing to shrug off “On the Line” as a mere mediocrity until the final twenty minutes. After them, though, they might feel like throwing things at the screen.

Full Review | Original Score: D+ | Nov 8, 2022

Mel Gibson commits to the Phone Booth-like intensity the film believes it's delivering, but when it shifts into find-the-killer-in-the-big-building and a whole WTF climax that should have any viewer asking why they bothered with this full-length exercise.

Full Review | Original Score: 1.5/4 | Nov 8, 2022

On the Line could have been an entertaining thriller. It had the basic elements and premise to weave a heart-pounding narrative. Instead, we get an avalanche of stupidity. A barrage of bewildering last-minute reveals crashes with a thud.

Full Review | Original Score: 1.5/5 | Nov 8, 2022

Is “On the Line” going to resuscitate Gibson’s waning career? Probably not. Will it change the minds of his many detractors? No. It will, however, offer further proof that Gibson loves to work and, on occasion, recapture the spirit of his glory days

Full Review | Original Score: 4/5 | Nov 4, 2022

“On the Line” can’t quite shake the nagging problem of its utterly preposterous scenario.

Full Review | Original Score: 2.5/5 | Nov 4, 2022

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Critic’s Pick

‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

A woman with a bulletproof vest that says “Press” stands in a smoky city street.

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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Screen Rant

Is on the line worth watching breaking down the mel gibson movie's reviews & rotten tomatoes scores.

The 2022 thriller, On The Line, is trending on Netflix. Based on reviews, here's a breakdown of whether the Mel Gibson-led thriller is worth watching.

On The Line found new life on Netflix, but its predictable plot and poor acting make it a skip for many viewers.
Mel Gibson shines in this thriller, but the movie's unrealistic twists and lack of tension disappoint audiences and critics alike.
Despite its absurdity, On The Line caters to fans of twisty thrillers and Mel Gibson's nostalgic performances.

Spoiler Warning: This article contains spoilers for On The Line.

Although not as popular as some of Mel Gibson 's more notable work, 2022's On The Line has found new life on Netflix, which brings into question whether the movie is truly worth a watch . On the Line sees Gibson as Elvis, a popular radio host who, after receiving a threatening call from an unknown caller, has to race against the clock to save his wife and daughter. Although some of Gibson's action movies have found renewed success on Netflix , it's to be expected given his status as one of the industry's most beloved action stars.

Despite Gibson's age, he's still starring in action thrillers, as demonstrated by movies like, On The Line and the upcoming Lethal Weapon 5 . Although On The Line is decidedly different from the actor's usual work, it features Gibson in what is easily one of the more fun, albeit inconsistent, performances of his career. Additionally, On The Line sees Gibson starring alongside many fresh faces, which effectively speaks volumes to his star power in the modern filmmaking climate. Nevertheless, from plot twists to Rotten Tomatoes scores, On The Line 's recent popularity has been brought into question .

The 10 Best Mel Gibson Movies Of All Time, According To IMDb

Discussions of self harm are included in this article.

On The Line Has A 21% Score From Critics On Rotten Tomatoes

The movie's rotten tomatoes audience score is 32%..

On The Line 's reception among audiences and critics boils down to a predictable thriller marred by an unrealistic plot and poor acting performances from the majority of its cast. Save for Gibson, the consensus regarding On The Line is that the movie doesn't really offer anything worthy of viewers' time . While Gibson delivers a performance that is entertaining, it's overshadowed by a plot that feels dated in addition to lacking any genuine thrills beyond its initial moments. On The Line 's first act is arguably its best, as the tension is palpable and engaging at that point.

The confusing plot twists and underwhelming ending are also among some of On The Line 's most contentious elements.

However, once the supporting characters have more screen time, the movie quickly devolves into a not-so-subtle commentary on social media and its negative impact on the personal lives of respected celebrities and otherwise influential personalities. From puns and one-liners to Gibson's over-the-top delivery of some of Elvis's jokes, On The Line shifts from an enthralling thriller to a B-movie horror movie without any of the self-awareness necessary to make it work . The confusing plot twists and underwhelming ending are also among some of On The Line 's most contentious elements.

On The Line's Reviews Criticize Its Lack Of Tension, Plot Twists & Ending

The final plot twist didn't stick the landing with critics & audiences..

Elvis falls deeper into a cat and mouse game of death with a deranged caller named Gary, but it loses its tension by juxtaposing the thrills with one too many plot twists and bad jokes that, despite their prevalence, never really land. As seen earlier on, Elvis enjoys pranking his employees, and after a particularly harsh prank was played on Lauren, his former switchboard operator, she commits suicide. Unbeknownst to Elvis, Lauren was friends with Gary, and despite never being properly established beforehand, her death causes him to break into Elvis's house, where he threatens to kill his family.

After Gary forces Elvis to jump off a building to ensure his family's safety, Elvis fakes his death, but Gary reveals he knows Elvis faked it as he secretly had a drone circling the building. After then being forced to put an explosive vest on one of his interns, Dylan, for his trickery, Elvis and viewers witness Gary drop the detonator, but Dylan doesn't explode. As it turns out, the entire tense situation was one big prank that Elvis's crew orchestrated to get revenge for the years he pranked them. Despite its absurdity, On The Line still has an audience .

On The Line Is Worth Watching For Fans Of Mel Gibson Movies & Twisty Thrillers

The mel gibson thriller has plenty of plot twists in store..

Audiences familiar with Gibson's body of work will likely appreciate On The Line more than anyone else since , despite the movie's ridiculous plot, On The Line still features an inspired performance from Gibson that hearkens back to his '80s and '90s careers, respectively. Additionally, the movie's various plots could work well for people who enjoy them in other movies despite their lack of credibility or plausibility. Unfortunately, the majority of people who've seen it aren't too crazy about its twists, as demonstrated by its overwhelmingly negative feedback.

While Elvis's firing of Dylan is a prank that makes sense, Dylan's true identity as a stuntman named Max who orchestrated what is essentially an act of domestic terrorism and not facing any severe repercussions doesn't. Additionally, the police allowing such a prank to be broadcast live makes even less sense. While there is a moral about not taking people for granted, On The Line features too many twists for it to really work. Mel Gibson's movies are usually realistic , and while On The Line isn't, Gibson's performance and even the more absurd twists might be worth it for some .

RETRO REVIEW: Dune (1984) Is Underrated & Surreal

S ince the release of Denis Villeneuve's two-part adaptation of Dune , much attention was brought to Frank Herbert's original novel of the same name. Herbert's book is regarded by many as one of the most important works of fiction ever written, and as one of the most influential science-fiction stories ever told. The same, however, can't be said for Dune's first film adaptation, directed by David Lynch in 1984. At the time of its release, Dune (1984) received a chilly and even downright hostile reception. Things got so bad that Lynch disowned it, and demanded his name be replaced with "Alan Smithee" in the credits.

In contrast, Dune: Part Two received a much warmer welcome that was even more positive than what its immediate predecessor got. Despite Villeneuve's Dune duology being heralded as the "savior" of modern cinema and sci-fi, it didn't bury the book's previous adaptations. In fact, Lynch's Dune found a friendlier audience among modern viewers — specifically those who weren't too enthused by Villeneuve's ultra-modern and gritty take. The comparisons between both Dune movies is inevitable, but there is so much more to Dune (1984) beyond its status as a campy guilty pleasure.

What Is the Story Behind Dune (1984)?

Dune (1984) was plagued by production problems and a difficult source material, long live the fighters: the history behind dune's most iconic line.

Hitting the theaters on December 14, 1984, Lynch's unique vision for Herbert's novel elicited much controversy. It received mixed reviews from the public and negative press from critics. Roger Ebert infamously panned it and gave it one star out of four . In his review, the famous critic described the movie as "...a real mess, an incomprehensible, ugly, unstructured, pointless excursion." It was hampered by an extremely difficult production, an inflated budget and a disaster upon disaster behind the scenes. It had some very disturbing and almost sexual imagery, achieved through realistic practical effects and makeup. This shouldn't be too surprising given Lynch's general style and H.R. Giger's leftover designs from Alejandro Jodorowsky's failed Dune adaptation, but these designs no doubt unsettled even the most hardened viewers of the time. Dune's tumultuous production no doubt created bad blood, dooming it before it was even released.

Nearly 40 years later, public opinion towards Lynch's Dune shifted significantly. Once universally hated, history vindicated the movie . Modern audiences now regard it as a cult classic, with some even claiming it to be a major inspiration for their own works. Its memorable dreamlike aesthetic, unconventional storytelling and larger-than-life theatricality that tossed all realism out the window made an indelible mark on viewers. Toto seemed like an odd choice for Dune's soundtrack, but their score for the movie are now some of their fans' favorite tracks. Dune's influence can be felt in many contemporary sci-fi works, and even fantasy. The sand worm's designs in 1984 became the default for decades, and inspired future artists' interpretations. Even Villeneuve's gritty two-part epic took cues from Lynch's movie, especially in the set design and art direction. This can be seen in everything from the Fremen's stillsuits to House Atreides' colonial-era aesthetic.

One of Dune's (1984) biggest reappraisals was the choice to let Lynch helm it. Lynch's directorial style, exemplified by his prior films The Elephant Man and Eraserhead, is abstract and conceptual. On paper, he was an odd fit for Herbert's novel, which was already infamous for its intensely heady and politically-charged plot. Lynch's unorthodox style and perspective clashed with the book's cast of archetypes and the complex world of betrayals and power plays they lived in. For whatever reason, producers saw the heady Dune as a potential competitor and successor to Star Wars . Despite its varied world, Star Wars creator George Lucas stuck to a simple and classic hero's journey that helped sell his trilogy's outlandish setting to general audiences. Commissioning a surrealist like Lynch to turn a complex novel about feudal feuds into the next blockbuster space opera was ill-advised at best. Audiences in 1984 agreed with this sentiment, but Lynch's involvement is now seen as one of Dune's (1984) best novelties and strengths.

What Did Dune (1984) Do Right?

Dune (1984) challenged audience expectations and delivered seminal art direction, dune does need a director's cut - from david lynch, not denis villeneuve.

Dune's cast was a glamorous bunch. It featured the likes of future Twin Peaks frontman Kyle MacLachlan as Paul Atreides, the Sir Patrick Stewart as Gurney Halleck, Francesca Annis as Lady Jessica, Sean Young of Blade Runner fame as the Fremen Chani, and a memorable appearance by the musician Sting as Feyd-Rautha Harkonnen. Acting in an outlandish space opera requires an extra level of theatricality, and these stars delivered. They didn't bother with any pretenses of realism and earthiness. The actors presented their characters as larger-than-life, and they clearly reveled in portraying them. Although he wouldn't reach iconic star-status until portraying the lovable Agent Cooper six years later, Dune proved that MacLachlan had the energy to command attention, even in the midst of pure absurdity.

That said, Dune's most engaging aspect was its art direction. Lynch's signature cinematic style of hazy lighting and faded camera lenses with almost anime-levels of sparkle was a good fit for the movie's bizarre and beautiful visuals. The set designs displayed different emotions and atmospheres, ranging from luxurious to desolate. Dune's world looked and felt fully realized, less like the far-off future and more like another dimension. It truly felt and looked like a different plane of reality. Lynch's Dune plays out like a terrifying and beautiful fever dream put on the big screen.

Dune and Avatar Examine Imperialism, but Only One Movie Does It Better

This whimsical aesthetic lends well to memorable iconography. To this day, Lynch's Dune is quoted, referenced and celebrated by fans and filmmakers alike. The design of the sand worms and the scene in which Paul mastered riding them to the swelling, triumphant soundtrack courtesy of Toto are considered peak sci-fi cinema. The practical and visual effects -- including the shielded fight sequences, Baron Vladimir Harkonnen's grotesque makeup, the grossly stylized violence, and the sweeping, panoramic settings -- held up well, especially now as practical effects have begun to experience a growing renaissance. It's hard not to spot the lingering influence of Dune in modern films , including Villeneuve's version.

However, this unearthly aesthetic and approach made Dune less sci-fi and more fantasy. Lynch was less interested in the socio-political themes and simplified things -- either by necessity or the editing -- into an oblique tale of revenge told through a typical hero's journey, albeit a complicated and abstruse one. With so many major elements and scenes cut, cobbled together or outright omitted during the post-production process, it's no wonder Dune feels unfinished or unfocused. It even comes across as shallow in places. But when Dune delivers, it delivers nothing short of a grand spectacle , one that is revisited with great fondness and admiration.

How Does Dune (1984) Hold Up Now?

Dune (1984) took risks and was ahead of its time, dune: part two writer explains cutting one major moment from original novel.

For his two-part Dune, Villeneuve chose a style and presentation that fit with the current media landscape and audience expectations. His brutalist approach took cues from the violent and morally grey TV series and films that rose in popularity during the 2010s and continued into the 2020s. The game-changing Game of Thrones, and the gritty, greyed-out Dark Knight trilogy spring to mind. Other modern trappings that Dune (2021/2024) used included the two-parter format, the long runtime, the dour HDR-infused lighting, emphasis on politics and social commentary, and an overbearingly self-serious tone. Villeneuve kept Paul morally ambiguous and at times unlikable, just like in the book, and stayed in tune with the current hunger for emotionally and morally conflicted or flawed anti-heroes. Like Lynch, Villeneuve has a distinct style that developed over the last few years, becoming synonymous with the era in which he rose to fame.

But, like many of history's most forward-thinking and eccentric creators, Lynch's vision for Dune was ahead of its time . Lynch challenged audiences in 1984, who at that time were not familiar or comfortable with such esoteric and experimental surrealism in their mainstream cinema. They, unfortunately, reacted accordingly and rejected his sci-fi epic. Thankfully, Lynch's efforts and style were vindicated decades later, especially as he continued to rise as an artistic influence. He eventually became one of the most beloved and respected names in film and TV.

Moviegoers weren't ready for Lynch's weirdness in 1984, but a 1990 TV-going audience was certainly ready when Twin Peaks arrived. Lynch's foray into TV not only recontextualized TV serials and arguably set the stage for today's binge-watching format, but also broke the limitations of audience expectations in a long-form story. For the next few decades, being subversive and pushing things to the edge became par for the course. By 2024, stories that were dark, edgy and complicated were almost the cliché. To a modern audience, Lynch's Dune is still strange and eccentric, but compelling and dreamlike, and visually unique.

The question of which adaptation is the definitive Dune is moot. In the end, only Herbert himself has the true and definitive take . Both esteemed directors did their jobs by interpreting the source material in their own ways, and each version provided something extraordinary for cinema. Villeneuve played it as safe by channeling politically intense contemporary cinema and focused on translating the novel in its authentic and long-winded density, almost beat for beat. Conversely, Lynch took risks and challenged expectations. While this got Lynch in hot water with producers and provoked the ire of critics and Dune fans of his day, today, more people came out in defense of his film than against it. If anything, Lynch's Dune is weird but refreshing to many modern viewers. Its weirdness is comparable to the new wave of eccentric and off-kilter films of the mid-2020s, including the similarly eccentric yet controversial Poor Things by Yorgos Lanthimos.

Dune (1984) Blazed Trails For Sci-Fi

Dune's (1984) ambitions and artistry were only appreciated decades after the fact, how did frank herbert feel about star wars' dune influence it's complicated.

Herbert's novel, like many lengthy fantasy and sci-fi novels before and after its time, is a notoriously complicated story. Dune can't be easily translated to film or TV. It took filmmaking masters like Lynch and Villeneuve to bring it to life. As if this weren't enough, it took two major attempts from Hollywood to get the version that's considered "right." Now with audiences primed for such long-running and complicated tales, both versions of Dune enjoyed warm welcomes, despite their respective flaws.

At the time and given the limits he had to work with, Lynch did his best to adapt Dune to the accepted format of the mid-80s. He sacrificed accuracy and realism to emphasize the novel's emotions and otherworldly aura in a single, two-hour feature. Even now, his movie's flaws are clear, especially to those familiar with the novel. To viewers married to gritty realism, it's a jarring watch.

That said, Lynch's adaptation shouldn't be viewed as a straightforward adaptation of Herbert's novel. Rather, Dune is a cinematic exercise; a strange, frustrating and wondrous one . Although vestiges of its controversy continue to haunt it, its legacy is ultimately positive. Beyond being a phenomenon, Dune is a flawed, haphazard and unsettling film. But it's also compelling, imaginative, and beautiful to look at. It has the right amount of charisma and star power. It also balanced outlandish power plays and philosophy with decent action and adventure. Most importantly, its art direction can only be described as iconic.

For all its faults, Dune is a respectable space opera and a spectacle that offers plenty of rewards for those willing to suspend disbelief and surrender to pure, unfettered fantasy. It may not be the most beloved take on Dune, or even the safest one, but it's definitive and memorable as its own film.

Dune (1984)

A Duke's son leads desert warriors against the galactic emperor and his father's evil nemesis to free their desert world from the emperor's rule.

Director David Lynch

Release Date December 14, 1984

Cast Leonardo Cimino, Kyle MacLachlan, Freddie Jones, Linda Hunt, Francesca Annis, Jose Ferrer, Virginia Madsen, Brad Dourif

Writers David Lynch, Frank Herbert

Rating PG-13

Runtime 137 Minutes

Main Genre Sci-Fi

Genres Sci-Fi, Action, Adventure

RETRO REVIEW: Dune (1984) Is Underrated & Surreal

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The extreme color palette and overdone scenes of gore and nudity feel like a desparate (and unfortunately unsuccessful) attempt to divert attention from the acting, plot, and dialog. Read more

The plot is basically the minimum scaffolding required to lead up to one particular scene - and while that scene does play well, the movie glosses over details about the more interesting backstory in favor of key plot points that ultimately don't make sense under any kind of scrutiny Read more

Suffice to say I missed some of the subtext in the prologue and largely didn't understand anything of the 20 minute ending - but despite the (at times excruciatingly) slow pace and several bizarre audio-visual sequences, the attention to detail and superb visual effects (even 50 years later) are outstanding. Read more

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Due in large part to the excruciatingly slow pace, this movie is less interesting than the actual job of a census worker. Read more

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With so many things to be reviewed, sometimes a single sentence is all time allows for. On this site you’ll see reviews of anything and everything – summarized with a 0 – 5 star rating, and a one line review.

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‘The Long Game’ Review: Young Latinos Aim to Earn Respect and Victory on the Golf Course in Uplifting Period Drama

Jay Hernandez and Dennis Quaid head the cast of an earnest, fact-based indie about the improbable achievements of underdogs in 1950s Texas.

By Joe Leydon

Film Critic

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Winner of an audience award at the 2023 SXSW film fest, “ The Long Game ” is an utterly predictable yet thoroughly engaging period drama. Set in 1950s Texas, the film focuses on the true-life story of five Mexican-American youths who triumph against all odds while overcoming adversity, prejudice and periodic self-doubts in their pursuit of a Texas State High School Golf Championship trophy.

Popular on Variety

But when JB notices that the five caddies have developed a talent for the game while competing at a one-hole course they’ve improvised for themselves on an unattended stretch of public land, he figures that, hey, maybe what San Filipe High really needs is a student golf team, the San Felipe Mustangs. And he should be their coach — with a little help from Frank.

But he and his fine cast infuse even the hokiest moments in “The Long Game” with a disarming sincerity, so that, while there’s never any serious doubt about what will happen when the qualifying series of golf tournaments concludes for the Mustangs, the young underdogs — and their grown-up allies — consistently generate rooting interest on and off the fairway.

Quintana, who started his career by working with Terrence Malick on “The Tree of Life” and “To the Wonder,” gets splendid work from DP Alex Quintana, his brother, and production designer Carlos Osorio, both of whom greatly enhance the film’s period flavor (which is strong enough to withstand a few minor intrusive anachronisms).

Julian Works is the standout among the Mustangs, to a large degree because his character is the only one of the youths who has more than two dimensions. (The other Latino teens are equally well-cast, but they are given much less to do.) To that end, it helps that Works’ Joe has scenes where he interacts with an angrily disapproving father (Jimmy Gonzalez), and romances a lovely classmate (a beguiling Paulina Chávez) with literary ambitions.

Hernandez is low-key and credible as JB develops mentor-pupil relationships with the Mustangs, and maintains a loving and supportive rapport with his wife Lucy (Jaina Lee Ortiz). Quaid strikes the perfect balance of twinkly-eyed mischievousness and grizzled seriousness, with a side order of wartime trauma, while Marin skillfully offsets his welcome comic relief as Pollo notes that, if you’re not white, fighting for your country does not guarantee acceptance in a segregated postwar society. Maybe you’ll have to win a few golf tournaments first.

Reviewed online, April 9, 2024. In SXSW. MPA Rating: PG. Running time: 112 MIN.

Production: A Mucho Mas Media Releasing release and presentation, in association with Fifth Season, of a Mucho Mas Media, Bonniedale production, in association with Jaguar Bite. Producers: Javier Chapa, Ben Howard, Dennis Quaid, Laura Quaid, Marla Quintana. Executive producers: Jay Hernandez, Phillip Braun, Jason Gerber, Christian Sosa, John Williams, Veronica B. Jones, Jennifer Kuczaj, Simon Wise, Colleen Barshop, Vincent Cordero, Simón Beltrán Echeverri, Juan Pablo Solano Vergara, Carlos Osorio, Humberto G. Garcia, Jesse Mandujano, Julio M. Quintana, Ricky Joshi, Brian Eddy, Jeff Grossberg, Jack Shemtov, Matthew Dwyer, David E. Campbell, Michael Hollingsworth, Tim Mahler, Jeff Moseley, Carter Pope.
Crew: Director: Julio Quintana. Screenplay: Julio Quintana, Jennifer C. Stetson, Paco Farias, based on the book “Mustang Miracle” by Humberto G. Garcia. Camera: Alex Quintana. Editor: James K. Crouch. Music: Hanan Townshend.
With: With: Jay Hernandez, Dennis Quaid, Cheech Marin, Julian Works, Jaina Lee Ortiz, Brett Cullen, Oscar Nunez, Richard Robichaux, Paulina Chavez. (English, Spanish dialogue)

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'Civil War' review: Kirsten Dunst leads visceral look at consequences of a divided America

We see “Civil War” trending on social media all too commonly in our divided country, for one reason or another, and usually nodding to extreme cultural or ideological differences. With his riveting new action thriller of the same name, writer/director Alex Garland delivers a riveting cautionary tale that forces viewers to confront its terrifying real-life consequences.

“Civil War” (★★★½ out of four; rated R; in theaters Friday) imagines a near-future America that’s dystopian in vision but still realistic enough to be eerily unnerving. It's a grounded, well-acted ode to the power of journalism and a thought-provoking, visceral fireball of an anti-war movie.

Played exceptionally by Kirsten Dunst , Lee is an acclaimed war photographer covering a fractured America: The Western Forces led by California and Texas have seceded from the USA and are days away from a final siege on the federal government. Lee and her reporting partner Joel (Wagner Moura) have been tasked with traveling from New York City to Washington to interview the president (Nick Offerman) before the White House falls.

After visually capturing humanity's worst moments, Lee is as world-weary and jaded as one can be. But after saving aspiring photographer Jessie (Cailee Spaeny) during a Brooklyn suicide bombing, Lee becomes a reluctant mentor as the young woman worms her way into their crew. Also in the press van: senior journalist Sammy (Stephen McKinley Henderson), hitching a ride to the Western Forces military base in Charlottesville, Virginia.

Most of “Civil War” is an episodic odyssey where Lee and company view the mighty toll taken by this conflict: the graveyard of cars on what’s left of I-95, for example, or how an innocent-looking holiday stop turns deadly courtesy of an unseen shooter. Primarily, however, it’s a disturbing internal examination of what happens when we turn on each other, when weekend warriors take up arms against trained soldiers, or armed neighbors are given a way to do bad things to people they just don’t like.

'No dark dialogue!': Kirsten Dunst says 5-year-old son helped her run lines for 'Civil War'

Given its polarizing nature, “Civil War" is actually not that "political." Garland doesn’t explain what led to the secession or much of the historical backstory, and even Offerman’s president isn’t onscreen enough to dig into any real-life inspirations, outside of some faux bluster in the face of certain defeat. (He’s apparently in his third term and dismantled the FBI, so probably not a big Constitutionalist.)

Rather than two hours of pointing fingers, Garland is more interested in depicting the effect of a civil war rather than the cause. As one sniper points out in a moment when Lee and Joel are trying not to die, when someone’s shooting a gun at you, it doesn’t matter what side you’re on or who’s good and who's bad.

The director’s intellectual filmography has explored everything from ecological issues ( “Annihilation” ) to AI advancement ( “Ex Machina” ), and there are all sorts of heady themes at play in “Civil War.” “What kind of American are you?” asks a racist soldier played with a steady, ruthless cruelty by Jesse Plemons (Dunst's husband) in a disturbing scene that nods to an even deeper conflict in society than the one torching this fictionalized version. There's also an underlying sense of apathy that the characters face, with hints that much of the country is just willfully ignoring the conflict because they'd rather not think about it. But this hellish road trip also maintains a sense of hopefulness − via the growing relationship between Lee and Jessie – and is pretty exciting even with its multitude of horrors.

'You get paid a lot of money': Kirsten Dunst says she's open for another superhero movie

“Civil War” is a thoughtful movie with blockbuster ambitions, and while it does embrace more of a straightforward action flick vibe toward its climactic end, Garland still lands a lasting gut punch. He immerses audiences in the unpredictable nature of war, with gunfire and explosions leaving even the calmest sort on edge, and paints a sprawling canvas of an America forever changed. Thankfully, it’s just a warning and not a promise, using the movie theater as a public service announcement rather than an escape from the real world.

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The poo-stained humanity of Sasquatch Sunset

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A sasquatch eats berries in a hilly wilderness in Sasquatch Sunset

Gross-out humor reached its apex in 2010’s Jackass 3D , when the boys slingshotted a ripened port-a-potty 100 feet into the air, and a bungee-cord bounce sent fecal matter splattering all over Steve-O — in glorious 3D, no less! That was it. There was nowhere else to go. Or so I believed.

Sasquatch Sunset has upended comedic history.

The new comedy from filmmaker brothers David and Nathan Zellner stars Jesse Eisenberg and Riley Keough, though you wouldn’t know it without seeing their names on the poster; they’re both outfitted in cryptid costumes that conceal everything but their eyes. It’s really them, movie stars, roaming the woods in big hairy prosthetics. Like the apes in 2001: A Space Odyssey , the movie’s small pack of four sasquatches is on the verge of a new phase of evolution as they unlock the possibilities of the world and their own bodies. This leads them to defecate without restraint, make feral love in the open, and occasionally fondle their dongs. No bodily function goes untapped in Sasquatch Sunset , which happens to be a meditative communion with North America’s glorious woodland.

Sasquatch Sunset is extreme even for the Zellners, who are experts in thwarting expectations and upending movie tropes. Kumiko, the Treasure Hunter , their biggest breakout, stars Rinko Kikuchi as a Tokyo office drone drawn to Minnesota, supposedly in search of the bag of money buried in the snow by the characters in the Coen brothers’ neo-noir Fargo . Twisting urban legend into fantastical docudrama, the film earned indie cult status by threading quirk through tragedy to spin up a genre-defying odyssey. Their follow-up, 2018’s Damsel , let Robert Pattinson, Mia Wasikowska, and a tiny horse go ham on the Western genre. While less successful as commentary, the romp was pure Zellners — wicked funny, experimental, and eye-catching. Sasquatch Sunset continues the arc, as the brothers both broaden their humor and find a way to be even less accessible.

There is no dialogue in Sasquatch Sunset , and little plot. More National Geographic documentary than Harry and the Hendersons , the film follows the four Bigfoots over a year as their senses blossom and urges take hold. Eisenberg and Keough’s sasquatches already have a son (Christophe Zajac-Denek of Twin Peaks: The Return ), but the pack’s alpha male (Nathan Zellner) is randy. Through grunts and howls, the humanoids negotiate their societal norms, paving the way for Keough and Zellner’s sasquatches to graphically, as the Bloodhound Gang would put it , “do it like they do on the Discovery Channel.” Keough’s sasquatch winds up pregnant, Zellner’s has a sexual awakening, and Eisenberg ends up introspective, ruminating in silence as his companions bang, and staring off into the trees as if wondering whether there are any more of them out there.

Cinematographer Mike Gioulakis breathes life into Sasquatch Sunset ’s quiet stillness with his sun-soaked landscapes — the California redwoods are as much of a far out, man spectacle as the infinity of the night sky. And as an examination of the dawn of man that still brushes up against the existence of modern(-ish) mankind, Sasquatch Sunset occasionally connects with something profound about how we became the violent, vulgar, curious, loving beings we should all admit we are.

Where viewers’ mileage will vary is in the aggressive punctuation of introspective moments with absolutely profane humor. I will never unsee Eisenberg’s sasquatch having an explosive diarrhea episode all over a street after eating the wrong kind of berries. Or watching Keough go ape on her dangling breasts to firehose milk in every direction. Or a sasquatch live birth. The practical effects in Sasquatch Sunset are… astounding.

Three sasquatches overlook a forest vista in Sasquatch Sunset

There is a point to all of this. While the Bigfoots live off the land, they know little about their surroundings. Everything is a “first” in the wild, and the Zellners want us to feel it. How do you eat a fish if you’ve never seen one before? The sasquatches pop a few like water balloons. How do you care for a baby without any instruction? Smack it until it burps. What the hell is a mountain lion? A sex object, at least at first. The Zellners are right to imagine their sasquatches’ quest for survival as complete chaos, walkouts be damned.

Reactions to Sasquatch Sunset ’s Sundance Film Festival premiere called it everything from a masterpiece to an utter misfire . I can’t imagine the Zellners would want it any other way; their vision is clear, and zero concessions were made to tame the backwoods journey into a whimsical, Disney Plus-ready drama. No, this is how it would really be, and the laughs (horrors?) within might even make Steve-O squint.

Is Sasquatch Sunset a good movie? A bad one? I will say I approve of it. I wanted to vomit three or four times before the credits rolled, but in an era where even indie films can feel like four-quadrant efforts on the cheap, what a relief that something so aggressively sick and sweet exists.

Sasquatch Sunset opens in a few major cities on April 12, and expands to a nationwide release on April 19.

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One life review
ONE LINE #shorts #highlights #impossible
A pencil that can only go in a straight line.#film #movie #anime #short
One line draws the entire shape, and the lines cannot overlap! Is there an answer to this question?
Traveling In One Piece Is A Nightmare Pt. 2 #shorts
One line draws the entire shape, and the lines cannot overlap! Is there an answer to this question?

COMMENTS

Comedic and Iconic Movie Lines: The Best One-Liners in Cinema
49. "Love means never having to say you're sorry.". Aw, how many decorative wall art pieces did this inspire. Just kidding, cheesy or not, this line has been repeated a number of times since the film's release in 1970. Run with him to a minute and 30 seconds to hear the line.
Best Movie One Liners: Top One Liners From Films
Quentin Tarantino's Pulp Fiction immortalizes Samuel L. Jackson's recitation of Ezekiel 25:17 before executing justice - a moment that combines intensity with a hypnotic rhythm. The dialogue is not merely heard, but felt, demonstrating Tarantino's unique narrative voice. It's evident that the crafting of a memorable action movie one-liner is an art form.
20 Best Movie One Liners of All Time
The line has become one of the most famous quotes from a film. It is a thrilling scene that gets elevated thanks to Al Pacino's killer (no pun intended) delivery. 5. "May The Force Be With You" - Star Wars (1977) A line that serves many purposes. It is one of the most commonly used one-liners from a film.
10 Best Movie One Liners
The Terminator (1984) Arnold Schwarzenegger took his line " I'll be back " and made it one of the most famous movie lines in cinema history. Almost 30 years have passed since the release of The Terminator, and people still utter " I'll be back " before making their exit. Related: 10 Movie Franchises That Got Progressively Worse.
One Life movie review & film summary (2024)
The ninth train, scheduled to leave the day the war was declared, was stopped by the Nazis. As the older Winton tries, at his wife's urging, to go through the towering piles of paper in his home office, he thinks back on his life. He is overcome with the thoughts of the children he could not save.
Movie reviews and ratings by Film Critic Roger Ebert
11:11 - Eleven Reviews by Roger Ebert from 2011 in Remembrance of His Transition 11 Years Ago. April 4, 2024. Advertisement.
Rotten Tomatoes: Movies
Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
Movie Reviews
Not Rated. Documentary, News. Directed by Robert Kenner, Melissa Robledo. Directed by Robert Kenner and Melissa Robledo, the sequel about food production in the U.S. is, in some ways, a more ...
100 Best One-Liners Movie Reviews
100 Best One-Liners Fan Reviews and Ratings Powered by Rotten Tomatoes. Close Audience Score. The percentage of users who made a verified movie ticket purchase and rated this 3.5 stars or higher. ... You must purchase at least one (1) movie ticket for each of the three (3) Pixar movies 'Soul', 'Turning Red', and 'Luca' (in other ...
One Life Review
Hopkins delivers a heartfelt and sincere performance. Coxon and Drake keep things light and simple, opting for a formulaic approach heavily reliant on an emotionally stirring third act. However ...
Movie Reviews, Articles, Trailers, and more
Metacritic offers aggregated movie reviews from the top critics, and our own METASCORE pinpoints at a glance how each movie was reviewed. ... Dune and Blade Runner films, he made a name for himself with crime thrillers and indie dramas. Here, we rank every one of his films to date from worst to best by Metascore. movie; DVD/Blu-ray Releases ...
'One Life' Review: Anthony Hopkins in a Stirring Period Piece
September 11, 2023 4:57pm. Anthony Hopkins in 'One Life' Toronto International Film Festival. Anthony Hopkins recently played an elderly Jewish man who fled persecution as a child in James Gray ...
Life on the Line movie review (2016)
He made one of the great men-in-a-dangerous-profession pictures, 1940's "They Drive By Night," about truck drivers. But "Life on the Line" muddles them hopelessly, first by way of its myriad and busy structural devices, and then by inserting flashbacks that have all the logic of hiccups, and then, finally, by overplaying its ...
One-line
Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets. ... One-line Reviews
On the Line
Full Review | Original Score: 2.5/5 | Mar 27, 2023. The acting is across-the-board woeful, with Gibson all-but sleepwalking through his role, and the preposterous denouement serves only to ...
'Sting' Review: A Giant Spider Grows in Brooklyn
Crew: Director, screenplay: Kiah Roache-Turner. Camera: Brad Shield. Editors: Jeff Cummings, Luke Doolan, Kiah Roache-Turner. Music: Anna Drubich. With: Ryan Corr, Alyla Browne, Penelope Mitchell ...
Movie Reviews Archives
With so many things to be reviewed, sometimes a single sentence is all time allows for. On this site you'll see reviews of anything and everything - summarized with a 0 - 5 star rating, and a one line review. If you would like, browse the menu categories to find relevant reviews - or search all for the review you're seeking. Certain ...
'Civil War' Review: We Have Met the Enemy and It Is Us. Again
Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor's face that, like Dunst's, expressed a nation's soul-sickness so vividly that it felt like an X-ray ...
Is On The Line Worth Watching? Breaking Down The Mel Gibson Movie's
Based on reviews, here's a breakdown of whether the Mel Gibson-led thriller is worth watching. Summary. On The Line found new life on Netflix, but its predictable plot and poor acting make it a skip for many viewers. Mel Gibson shines in this thriller, but the movie's unrealistic twists and lack of tension disappoint audiences and critics alike.
RETRO REVIEW: Dune (1984) Is Underrated & Surreal
Release DateDecember 14, 1984. CastLeonardo Cimino, Kyle MacLachlan, Freddie Jones, Linda Hunt, Francesca Annis, Jose Ferrer, Virginia Madsen, Brad Dourif. WritersDavid Lynch, Frank Herbert ...
Movie Reviews
Movie Reviews (24 reviews match) Page 1 of 3 Movie: Clownado. Reviewed on Wednesday, 01/15/20 at 11:22pm. 0.5 Stars ... On this site you'll see reviews of anything and everything - summarized with a 0 - 5 star rating, and a one line review. If you would like, browse the menu categories to find relevant reviews ...
'The Long Game' Review: Young Latinos Earn Respect on the ...
Winner of an audience award at the 2023 SXSW film fest, "The Long Game" is an utterly predictable yet thoroughly engaging period drama. Set in 1950s Texas, the film focuses on the true-life ...
Reviews
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On the Line (2022) Review
On the Line was directed and written by Romuald Boulanger (Connectes, Haters) and stars Mel Gibson (Bandit, Mad Max), Alia Seror-O'Neill (Spides, Gelateria), Paul Spera (Something in the Air, Detroit: Become Human), William Moseley (Raven's Hollow, Land of Dreams), Nancy Tate (A Perfect Plan, 13 French Street), Romy Pointet, and Kevin Dillon (Hot Seat, Wire Room).
'Civil War' Probably Isn't What You Expected It to Be
"What's so civil about war, anyway?" asked Axl Rose back in 1990, when he and his band had the world's ear. Nobody would accuse Guns N' Roses of being a political act like, say, U2, but ...
'Civil War' 2024 movie review: Alex Garland depicts a divided America
He immerses audiences in the unpredictable nature of war, with gunfire and explosions leaving even the calmest sort on edge, and paints a sprawling canvas of an America forever changed. Thankfully ...
On The Line (2022) Movie Review
Ultimately, On The Line is a missed opportunity. It could have been a decent thriller but after a strong first half, it quickly starts to lose its way. Therefore, this is probably a movie you should ignore, even if you are a fan of its lead actor. If your friend calls you up and recommends it to you, that phone call is probably one you should ...
One Line (2017)
Ratings: 7.6 /10 from 358 users. # of Watchers: 1,330. Reviews: 2 users. A broke college student meets a legendary swindler. The student joins the swindler's team and enters the world of mortgage fraud with great success. Though their heists are successful, the members of the team don't trust each other and jealousy arises.
Abigail (2024)
Abigail: Directed by Matt Bettinelli-Olpin, Tyler Gillett. With Kathryn Newton, Giancarlo Esposito, Dan Stevens, Kevin Durand. After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl.
Sasquatch Sunset review: A top 5 gross-out movie about Bigfoots
Their follow-up, 2018's Damsel, let Robert Pattinson, Mia Wasikowska, and a tiny horse go ham on the Western genre. While less successful as commentary, the romp was pure Zellners — wicked ...