White Bird (A Mayan 2012 Thriller)

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Earthstorm TV Movie Action Drama Sci-Fi. Edit Cast Cast overview, first billed only: A. Brook Calvin Alan Dale General Slate Bruce Ramsay Garcia Rick Ravanello Agent Henning Gordon Tootoosis John Matthew Kevin Anderson Dennis as Matthew Anderson Roseanne Supernault Raven Hiro Kanagawa Yates Jerry Wasserman Sam Lovell Douglas Chapman Rupert Crane Phillip Mitchell Jenkins Lori Triolo Edit Storyline A book editor is in the posession of an artifact that gives him visions.

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Genres: Sci-Fi. Edit Details Country: Canada. Language: English. Runtime: 92 min. Sound Mix: Dolby Digital. Color: Color. Edit Did You Know? Trivia Prior to this movie, Jewel Staite played the ship's mechanic, Kaylee, on the Syfy series "Firefly" and ot's follow-up movie "Serenity". Goofs In the beginning, they show that giant cracks have opened up beneath the Black Sea, and all the water has drained into them.

The government man says that they were able to dam the Bosporos Strait to stop the Mediterranean Sea from draining into the cracks. Just turn that big, four-stringed instrument on its side and, cello -- you've got a bass. Kill Bill: Vol. We're met with that bloodlust at the very beginning of Vol. With a monologue recap of the first film, looking just beyond the camera, she "roared and rampaged and got bloody satisfaction," and now she's ready to murder the one man she's dreamt of killing for years. Her angry confidence in saying what we've been waiting for makes your blood boil with sadistic excitement -- we're also ready to watch one of Tarantino's few female protagonists come for the killing.

You know she's going to get the job done. Obsessed "Come here, bitch. Obsessed is not a great movie -- much of it is dull and derivative -- but it comes alive in the final stretch, enlivened by the intensity of the performances and the tawdriness of the material. Best in Show Christopher Guest's dog show comedy is hard to encapsulate in a single quote.

Sure, there are lines you can reference, but it's more about the characters his ensemble digs deep to create. The humor comes from getting to know these weirdos, who sometimes say hilariously un-self-aware things. Early in this dog show satire we're introduced to Jennifer Coolidge's daffy poodle owner Sherri Ann Cabot and her very old, very rich husband Leslie. While he remains silent she tries to convince the audience that they have so much in common: Soup, the outdoors, snow peas, talking, not talking.

Coolidge's convoluted delivery is so precise it seems scripted, even though Guest's movies are largely improvised. In Doubt , this happens at least three times, maybe 10, maybe , starting with the first scene. But it's the last scene, the fraught, melodramatic conclusion, that contains its single best line, whispered with great feeling by Meryl Streep. It comes after Meryl and Amy Adams oust a priest from their school who they think has been abusing young boys, but no one ever saw any actual proof, so there's still a tiny chance, in Meryl's character's mind, that he never did anything.

But that's not important. You don't even need to have seen the movie to know how to wield this line in any social situation that requires an appropriately distressed Streep impression. Jennifer's Body Screenwriter Diablo Cody's follow-up to Juno , for which she won a shit-ton of best original screenplay awards, including the Oscar, was Jennifer's Body.

Directed by Karyn Kusama, it's a revenge horror-comedy unapologetically made for girls, and that completely baffled most critics at the time. A demonic indie band fronted by Adam Brody in emo eyeliner sacrificing Megan Fox's Jennifer -- crowned hottest woman on the planet by every men's magazine -- accidentally turning her into a boy-eating succubus, was just too much for people read: men who paid the ticket price to ogle.

Jennifer's Body has been somewhat vindicated in the last few years, with the new crop of bloggers and critics proclaiming that the film was way ahead of its time and a feminist horror classic full of sharp, ironic humor, and hinged on a poignant MeToo story long before the movement began. But the film's opening line, in a voiceover by Amanda Seyfried's Needy, was a Tumblr anthem to puberty and the depth of emotions young women endure, long before the righteous revisionism began.

Napoleon Dynamite No one expected the world to embrace the odd patch of Idaho that birthed Napoleon Dynamite and his friend Pedro, but boy, did it ever. Like so many other movies featured on this list, Napoleon Dynamite wasn't just popular, but a lexical phenomenon that helped return to common use non-profanities like "Heck yes! Napoleon's brazenness and social ineptitude capture the uncomfortable feeling of being a high school outcast desperate for attention, but the scene goes beyond what most people can relate to when he stuffs Pedro's tots in the side pocket of his zip-up cargo pants.

It's a moment of Dada logic in a film that had so many people asking, "What the hell is this? Snakes on a Plane Snakes on a Plane is a convincing argument that the internet might have been a terrible mistake. Pre-release speculation led to reshoots where the "motherfuckin' snakes" line, along with more R-rated violence and nudity, was filmed to please the growing snake-crazed fanboy army.

I have a vivid memory of getting a personalized robocall featuring the voice of Samuel L. Jackson telling me to go see the film. Then the movie came out, riding months of hype, and it mostly sucked, perhaps proving that B-movies shouldn't be crowd-sourced by bored forum-dwellers. While Snakes on a Plane now plays like a cautionary tale about the cornieness of "totally epic" mid-'00's humor, what's disturbing is that Hollywood has only gotten craftier at cynically stripmining viral enthusiasm for a quick buck in the last decade.

Blame the motherfuckin' snakes. Love Actually Love Actually doesn't exactly top Breakfast at Tiffany 's in the Widely Loved, But Very Problematic Movie department, but it makes its best effort through pretty much every one of its 18, running storylines, culminating in the scene where Mark Andrew Lincoln turns up at Juliet's Keira Knightley house with a series of the creepiest romantic flashcards ever created. Lincoln himself called his character a "creepy stalker," maybe because Mark films no one but Juliet during her wedding to Mark's best friend , or because he shows up on Christmas silently proclaiming undying love for the woman who literally just married his best friend.

Seems like he might have had a chance to pull the flashcard stunt in the months or years preceding Christmas. The treacly tagline that "love actually is all around" is driven home by Mark's desperate plea, one of those grand movie gestures that calls to mind John Cusack's Say Anything boombox. While much of Richard Curtis' script expresses more ambivalent feelings toward love than the title suggests, the cue cards have lived on as a meme, and "To me, you are perfect" has repeatedly bailed out romantic partners with nothing original to write in birthday or Valentine's Day cards.

Bean wraps presents so slowly! It's one of those "just go with it" premises that's made explicit in the poster and trailer, but is reinforced in a scene that comes before the opening credits, a kind of "record scratch, freeze frame" setup that shows Eddie at the end of his rope, with unknown bad guys closing in before we rewind to get the full story. In voiceover while he teeters on the edge of a skyscraper, Eddie reflects on his current state, lamenting the gaps in his otherwise airtight IQ: "I'd come this close to having an impact on the world. And now the only thing I'd have an impact on was the sidewalk.

Certainly not. But it's the kind of dumb, repeatable line that makes good-bad movies so enjoyable. But, what better way to take back our power and agency from patriarchal depictions of desire than to meme the living daylights out of its weirdest scene? Look up "My tastes are very singular" on YouTube and you'll get everything from video game consoles to anime girl body pillows to One Direction theme bedrooms.

Anything is better than a "Red Room of Pain. American Psycho Mary Harron's adaptation of Bret Easton Ellis' savage satire of Reagan-era American capitalism does so much more than capture the brutality and humor of the book.

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With Christian Bale as the psycho, Patrick Bateman, his extreme aversion to human social interaction takes on a deathly serious tenor as embodied by the line Bateman uses to get out of any situation fast. It's a wholly unbelievable excuse that reveals how little empathy and social awareness Bateman possesses, especially when he uses it as an alibi and immediately following a claim that he's "in touch with humanity.

Try it out the next time you're breaking up with someone, or are being questioned regarding a coworker's suspicious disappearance. X-Men Buffy the Vampire Slayer creator and Avengers director Joss Whedon worked on a draft of the first X-Men script that was almost entirely scrapped, but in interviews over the years, the writer has taken credit for two distinct comedic lines that made it into the movie. First, there's the Wolverine " You're a dick " quip to Cyclops, which is a perfectly fine piece of comic-book banter. The other one, which Halle Berry's Storm delivers right as she electrocutes the villain Toad in front of the Statue of Liberty, is more controversial.

In a interview with Entertainment Weekly , Whedon called it "terrible" and criticized Berry's delivery, saying, "she did it like she was King Lear. Club in that she "said it like she was Desdemona," proving the guy really does love his Shakespeare references. I'd argue that Berry's performance -- in a series that rarely gave her much to do -- is actually what makes it so memorable.

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She goes for it! Despite the box office and critical success of the Marvel Cinematic Universe, you won't find many quotes from those movies on this list because the sitcom-like sheen to the dialogue and the slightly irreverent house style renders much of it completely disposable. Unafraid to play with cheesiness, Berry elevated a corny gag to camp poetry.

Moonlight Moonlight , the Best Picture-winning sophomore feature from director Barry Jenkins, was the result of such delicate, thoughtful alchemy. Jenkins' lush visuals, inspired by the work of Hong Kong filmmaker Wong Kar-wai, supplement the poetic words of playwright-turned screenwriter Tarell Alvin McCraney , who developed the script as an unproduced conceptual theater project at Yale in the late '00s, and both elements are brought to life by actors like Alex Hibbert, playing the impressionable young Chiron, and Mahershala Ali, playing the wise drug dealer Juan.

The intimacy of the "in moonlight, black boys look blue" monologue, which finds Ali telling a personal story and embodying the voice of "this old lady" from his childhood in Cuba, is different than many of the more abrasive, explosive quotes on this list. It can't be reduced to a meme or deployed as a GIF. But in a film built around small gestures, it has a profound, reality-altering power. The line transports you through time and space, the vulnerability of the performer and the character working in perfect harmony.

Bring It On It's quite honestly insane that UCB staple Ian Roberts was Sparky, the pill-popping choreographer putting high school cheerleaders through boot camp to "transform [their] robotic routines into poetry written with the human body. Clearly just a derivation of jazz hands , "spirit fingers" was one of the defining schticks of Bring It On , directed by Peyton Reed his first film -- he would later go on to make Ant-Man , and a damn good one at that.

Magic Mike Remember how everyone collectively lost their shit when Magic Mike came out? Directed by Steven Soderbergh I know, right? Hot, half-naked buff men thrusting on screen will do that, it seems. The tone of Magic Mike is set masterfully: In the first, like, two minutes, there's the one-two punch of Matthew McConaughey's Dallas, owner of club Xquisite, delivering the rules of the show to a room of screaming women in one of the most insane monologues he's ever given in film and he was a nomadic poet in a Harmony Korine film , for chrissakes , followed by an unimpeded shot of Tatum's butt.

Rowling's Harry Potter stories is rooted in a raw, powerful fantasy of youth: Discovering that you're more special, more unique, and more magical than the other children around you. When Robbie Coltrane, the burly Scotish actor tasked with bringing the half-giant Hagrid to life in Chris Columbus's first Harry Potter film, leans forward and says the line, "You're a wizard, 'arry," Daniel Radcliffe, still a fresh-faced kid at this point, reacts with what looks like the beginnings of mischievous smile, hinting that he knows this is the truth he's been searching for.

It's not exactly a shock. Yes, his eyes then bug out as he asks, "A what? Hagrid's proclamation, one of the many economical and poignant bits of dialogue in Steve Kloves's script, is the sound of a door opening, inviting the boy to a world he can't quite imagine. In his heart, 'arry was always a wizard, but he needed to hear it out loud to confirm it was true.

The Departed The Departed , Martin Scorsese's Boston crime saga adapted from the Hong Kong thriller Infernal Affairs , is a movie obsessed with the corrosive myth of professionalism. Cops and gangsters, the two feuding sides in the film's heightened moral universe, each like to think of themselves as fundamentally men of honor, guys who have tough jobs but go about them with dignity. They've all got a code, right? It's unsurprising that Sgt.

Sean Dignam, the foul-mouthed authority figure played by a fired-up Mark Wahlberg, believes that saying he "does his job" is the most brutal insult imaginable. Like the macho put-down's found in a David Mamet play or an episode of Billions , it's an attempt at total emasculation built around the idea that you are what you do and you must do it well.

Results matter. Efficiency is the goal. Put numbers on the board. There's a reason Dignam is the lone survivor in the movie's twist-filled climax: He's the guy who does his job, the cop who keeps his head down long enough to make his move, and those dead bodies are the other guys. Spring Breakers Harmony Korine's hedonistic "beach noir" indictment of wealth and youthful materialism was branded an "instant cult classic" on its release, if there is such a thing, and it really is an experience to watch this dreamy neon-lit crime film play out -- one that, like many of Korine's movies, may require a certain substance or two to really, like, understand, you know what I'm saying.

James Franco's Alien leads a group of teen girls down the path of despair and destruction, courting them by taking them back to his pad and showing off all his "shit. Superbad Superbad , the defining teen movie of the s, is yet another film on this list that contains many, many iconic quotes. How dare we not pick "I am McLovin,'" right? Well, prepare to be fucked by the long dick of the law -- who is us in this instance -- because we went with the declarative Seth Rogen's bumbling, drunk Officer Michaels shouts as he and Bill Hader's Officer Slater bust the high school rager.

Jonah Hill's Seth is carrying out the very long Evan Michael Cera as the two cops come through the door, and Fogell's trying to lose his virginity upstairs. Like most of high school, nothing really goes as planned, but the one thing every high schooler can count on is at least one awkward or worse interaction with bored police officers. Finding Nemo Before Ellen Degeneres was Ellen, the mononym, she was an out-of-work actress who had been sidelined in Hollywood after coming out as a lesbian in Then Finding Nemo happened.

Not four months after the Pixar movie about Marlin, a father clownfish, in search of his son was released, Ellen premiered Ellen , the same daytime talk show that's still running today. Her stunning comeback can certainly be chalked up to her sweet, legitimately funny performance as the voice of Dory, the jovially undeterred regal blue tang who suffers from short-term memory loss. In a particular moment of helplessness, their previous leads to Nemo having dried up, Dory sneaks into the frame and shares with Marlin her sing-songy wisdom for when times get tough: "Just keep swimming, just keep swimming, just keep swimming, swimming, swimming.

What do we do, we swim, swim…" The simple aphorism exploded into a positivity movement all its own, finding its way onto the senior quotes of high school students, tattoos, T-shirts, blog posts, GIFs… you name it. Django Unchained In the second of his revisionist history films, Quentin Tarantino is in peak form, dishing out fantasy justice to abominable characters like Leonardo DiCaprio's Calvin J. Candie, a smooth-talking slave-owner with a passion for phrenology. Candie's gleeful hatred -- covered with a slimy veneer of Southern manners -- puts the efficiency of Tarantino's character development on full display.

The slave-owner is the quintessential talentless, overconfident man who believes himself far superior to a foreigner and a free slave, despite all evidence to the contrary. As he takes a childish slurp out of a coconut filled with booze, DiCaprio delivers the film's best line with the kind of uncomfortable familiarity and condescension that make the final act's revenge fantasy fully earned.

It's the kind of line you could imagine a venture capitalist or similar vampire uttering today; we thankfully no longer sell humans as commodities, but the sickening nature of business sharks remains. Finding Forrester It's tough to explain why "You're the man now, dog" needs to be on this list. For one thing, the movie that the quote springs from, a coming-of-age drama starring Sean Connery as a J.

Salinger-like literary recluse who mentors a teenage basketball player, is completely forgettable, a sentimental retread of Good Will Hunting from people who should probably know better. In the context of director Gus Van Sant's career, it's considered a semi-embarrassing speed-bump on the way to more experimental, riskier terrain like Gerry and Elephant. Launched in with a loop of Connery repeating the line, YTMND became an online community for users creating and sharing low-quality audio-visual jokes with each other, the kind of inexplicable and absurd concoctions internet users now take for granted as the basic language of being a little too online.

The site became a pre-Twitter and -Facebook behemoth with four million monthly users at its peak, according to a Gizmodo article about its rise and eventual fall. And it did fall hard, almost disappearing earlier this year after suffering a " catastrophic failure ," but the site's influence is massive. Thank you, Sean Connery. Girls Trip Tiffany Haddish's most famous moment in Girl's Trip , the riotously funny comedy written by Kenya Barris and Tracy Oliver, might be the instructional scene involving a grapefruit, but the "booty hole" exchange, which occurs in the airport before the big trip to the Essence Festival in New Orleans, is when we really get a sense of what her character, Dina, is going to bring to this movie.

Simply, she's the funniest friend, the wildest travel companion, and the person most likely to stuff drugs in her butt. She steals this scene and then proceeds to walk away with the entire movie. Hunger Games Katniss Everdeen's declaration was taken directly from Suzanne Collins' bestselling YA novel, but it's Jennifer Lawrence's performance that makes it worthy of inclusion here.

From her, the words became a chillingly desperate gasp.

As the heroine of the dystopian fantasy, Lawrence shouts the phrase when her little sister is recruited to be part of the cruel games in which children from fantasy nightmare Panem's various districts are sacrificed. The Hunger Games films themselves have seemingly become less culturally relevant over time, but "I volunteer as tribute" remains alternately a rallying cry and a way to say you, uh, volunteer for a task. Just take a jaunt to Etsy and you'll find all kinds of merchandise bearing the cutesy phrase.

Hail, Caesar! A pompous director Ralph Fiennes attempts to get a cowboy actor Alden Ehrenreich to say an overwrought line of old-timey dialogue correctly. Their back and forth is like an amped up Marx brothers routine and the actual phrase is so surprisingly convoluted that it's all fantastic comedy. Spider-Man Mention "Spider-Man" to anyone who's ever dipped a toe into the pop culture wave pool, and they'll probably reply with some variation of this quote.

It's a classic line from Marvel's Spider-Man comics that, because of the popularity of Sam Raimi's superhero masterpiece, is now ubiquitous. Plenty of people probably don't even know it's from Spider-Man! In Raimi's movie, Uncle Ben says it to Peter Parker while trying to have The Talk, not knowing that Peter is currently dealing with a puberty transformation of a different kind the kind with six more legs than usual , and yet what he says to him in this moment ends up being the force that drives Spidey for the rest of his life.

It's the inverse of "absolute power corrupts absolutely": people with strengths and abilities beyond others -- superpowered or not -- have a duty to understand how to use those abilities. Just because you CAN do something, just because you have a certain level of power that others don't, doesn't always mean that you should. Requiem for a Dream Nobody on the Thrillist Entertainment staff was jumping out of their seat to take the "ass to ass" quote, and who can blame them!

It's the seediest, most repulsive line in a seedy, repulsively attractive film, and it serves as the three-word culmination of lives given over to the destructive power of drugs. The line comes during the film's final montage, which depicts each of the central characters' rock bottom: Harry's Jared Leto infected arm needs to be amputated, Tyrone Marlon Wayans has to kick heroin cold turkey in prison, and Sara undergoes electroshock therapy. But it's Jennifer Connelly's Marion who's subjected to the most degrading act in her perpetual search for drugs.

Having already set up an arrangement with the pimp Big Tim Keith David , Marion takes him up on his offer to join a little party he throws, a party that's actually a sex show. As the scene intensifies and Connelly and the other girls continue blowing cocaine, one asks, "So what are we gonna do now? Herman's Uncle Hank his name comes from the book , who knows exactly what they're gonna do now: The act that's pretty well described by its name.

If you know nothing else about this movie, you probably still know this line thanks to its ubiquity on the internet -- a line and scene that director Darren Aronofsky says on the DVD commentary were inspired by something he actually witnessed. No further elaboration given. Mad Max: Fury Road George Miller effortlessly created a whole world, complete with its own societal structure and mythology, within the first half hour of his epic Mad Max: Fury Road , adding fierce Imperators and albino "warboys" to his diesel-drenched post-apocalyptic saga.

The tyrannical Immortan Joe has developed a religion in order to subjugate his people, convincing them that, when they die, they'll continue to "ride shiny and chrome" in the viking afterlife of Valhalla. That's what he says to young Nux Nicholas Hoult before he sends him on a suicide mission. It's the YOLO of the sandy, violent future. It's also the thing your lizard brain says to itself right before you run a red light. Anakin grew up as a slave on a desert planet, so yeah, naturally, the texture of sand would probably bring back those memories. But, geez, man, can't you think of a less creepy way to say it?

Zero Dark Thirty Jessica Chastain is not exactly a "funny" performer, and Zero Dark Thirty , the controversial drama about the years-long hunt for Osama bin Laden, is definitely not a "funny" movie. The character she plays, a no-nonsense CIA intelligence analyst named Maya, is obsessed with her job, and when she gets in the room with James Gandolfini's gruff CIA Director she doesn't back down. She's been pushing this rock up a hill for years. The "motherfucker" line has a grim matter-of-factness to it that speaks to the movie's focus on Maya's single-minded, ethically warped mission.

Zero Dark Thirty and The Hurt Locker , the two tactics-obsessed war films written by Mark Boal and directed by Kathryn Bigelow from the '00s, are filled with functional bits of military jargon, bureaucratic double-speak, and terse commands. They're not exactly quotable, choosing to focus on creating feelings of dread instead, but somehow the "motherfucker" line cuts through the tension and adds a much-needed moment of levity. Phantom Thread You wouldn't typically think someone poisoning her partner is "sweet," but Phantom Thread pulls it off.

Paul Thomas Anderson's follow-up to the hazy, mumbling, postmodern mystery Inherent Vice favors the meticulous, harsh candor of Daniel Day-Lewis' Reynolds Woodcock and the narrative straightforwardness of a couple falling in love. A fashion designer with obsessive-compulsive and controlling tendencies, Woodcock spends the entire running time verbally cutting down those who fail him -- including Alma, the waitress he's turned into his muse, though she's totally unwilling to give up her own assertiveness and independence The tea is going out, the interruption is staying right here with me!

Their dynamic makes his response to Alma's revelation that his omelet is poisoned so perversely sweet. Just when the struggle of being together reaches its darkest moments, Alma and Reynolds lay their cards on the table. She wants him flat on his back; he's finally willing to give up control. It epitomizes the contradictory, painful, and transcendent nature of love, and puts a fitting capstone on Alma and Reynolds' courtship.



Thankfully, the years have been kind to this parody of tedious music biopics, especially considering Hollywood keeps making tedious music biopics. Ahem, Bohemian Rhapsody. You see, Dewey slices his brother in half during a playful machete fight, and his father will not stop reminding him: "Wrong kid died. Cage doesn't inhabit a role so much as he grabs it by the scruff of its neck and beats it into submission, and nowhere is that technique more evident than in Wicker Man , the mid-aughts remake of the British horror classic. It's a quintessentially insane Cage performance; some might call it bad acting, while we choose to recognize its unhinged gonzo genius.

Throughout a film that has Cage running around yelling at children, punching and kicking women, the scene where the neo-pagans finally exact their punishment is among his finest work. It's outstanding. Bridesmaids Bridesmaids is important for lots of reasons, but for our purposes here, we're going to focus on the fact that it unleashed the absolute comedic delight of Melissa McCarthy upon the world as Dougie's Tim Heidecker doofus-with-a-heart-of-gold sister, Megan.

In the first scene we're introduced to her, we get a lot from Megan, oversharing with Kristen Wiig's Annie about getting pins in her leg after falling off a cruise ship and mistaking the extraordinarily tall Hugh Dane smoking a pipe and wearing a newsboy cap for Annie's "fella," which is when we get this gem of unfiltered libido. The Prestige The whole point of magic tricks is to deceive.

Part of doing magic is making the audience think the trick is happening over here, while actually making something else happen over there. When you're watching the ball in one hand, you're not focusing on what he's doing with the other, which is what makes the trick work in the end.

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Ricky Bobby prefers the Christmas Jesus, and thus: "Dear 8-pound, 6-ounce newborn infant Jesus, don't even know a word yet Love that money! Also, due to a binding endorsement contract that stipulates I mention Powerade at each grace, I just want to say that Powerade is delicious and it cools you off on a hot summer day and we look forward to Powerade's release of Mystic Mountain Blueberry. Thank you for all your power and grace, dear baby God. Barbershop The Barbershop franchise is all talk.

For over a decade, the series, which spawned two sequels, a spinoff starring Queen Latifah, and a short-lived Showtime comedy, chronicled the bustling activity and nonstop banter inside a Chicago hair-cutting establishment owned by Ice Cube's Calvin Palmer Jr. But Calvin often ceded the floor to Cedric The Entertainer's Eddie, a gray-haired, glasses-wearing barber with opinions on just about everything. In a pre-social-media world, Eddie's provocative comments in the movie, which included takes like "Fuck Jesse Jackson," "O.

It's hard to think of many other comedies where the dialogue actually spilled out into the real world to this extent, prompting Jackson himself to pressure the studio to remove the offending lines about Civil Rights icons from the DVD. What's noteworthy about the actual scene is that almost everyone else in the shop at the time is already condemning Eddie's remarks, grumbling and booing in the background, and the Jackson line gets the biggest groans of all, showing "straight talk" like Eddie's always comes with a strong reaction.

Nymphomaniac Part I Danish bad-boy director Lars von Trier is not for everyone, and his two-part sex addiction epic Nymphomaniac is definitely not for everyone, but for those who dig his t-t-t-tWiStEd filmography, Nymphomaniac Part I contains the single greatest, most bizarre, most shocking line reading of all his movies. It occurs when Mrs. H Uma Thurman, god tier decides to bring herself and her children to visit her unfaithful husband and the young girl the movie's protagonist, played here by Stacy Martin he's sleeping with, touring around her apartment and commenting on all of her possessions.

The whole exercise is designed to show her husband how his infidelity has ruined the lives of his family -- an extremely, extremely, painfully awkward setup for a scene -- and when she finally gets to the "whoring bed" line, your whole brain will just be full of exclamation points and nothing else.

Much of its popularity comes down to the chemistry and the much-hyped sex scene between Mila Kunis and Natalie Portman, with Portman in particular delivering a crazed, obsessive performance as Nina, a ballerina losing her grip on reality as she struggles to embody the Black and White Swan in Swan Lake. Aronofsky's films typically demonstrate his eye for an dazzling final shot The Wrestler or Requiem for a Dream , for example , but there's no better way to end a movie about the hazards of perfectionism than with Portman's Nina bleeding, looking into the lights, and saying for once: "I was perfect.

Inglourious Basterds Christoph Waltz's international starmaking turn as Colonel Hans Landa, an SS officer working in Nazi-occupied France, allows him to lay on his weasely, morally bankrupt charm throughout Quentin Tarantino's Inglourious Basterds , but he lands on this gem right at the moment World War II can be won by the Allies. While almost all of Waltz's screen time features zingers delivered in three languages, this is the line that reveals how truly empty his soul is: He's smart, and has no conscience. Novak's Smithson Utivich, the perpetually cheery colonel tries his hand at an American expression.

The result is a malapropism that belies the utter seriousness of the moment, and is instantly memorable; the war will be over that night, but Landa happily practices his American English as he preps a clean exit for himself. Even though Aldo corrects him, Landa's version is what lives on from Inglourious Basterds. Donnie Darko Richard Kelly's dorm-room-poster of a movie, filled with stoner-logic time-travel shenanigans and enough adolescent angst to fill a heated LiveJournal entry, has a handful of lines that pop off the screen: "I'm voting for Dukakis;" "Smurfette doesn't fuck;" and "Sometimes I doubt your commitment to Sparkle Motion" were all named as possible candidates for this list.

Kelly's ear for teenage vulgarity and suburban absurdity remains the movie's secret weapon, the aspect that keeps it from devolving into overwrought science-fiction mumbo-jumbo and messianic self-pity. His less widely celebrated follow-up, Southland Tales , has a handful of memorable smart-ass one-liners too. But the "stupid man suit" question posed by Frank the Rabbit to Jake Gyllenhaal's moody hero Donnie during a Halloween screening of Evil Dead boils down the movie's cult appeal into a single utterance. Genre films are always attempting to peel back layers of reality, pushing at the boundaries of consciousness and the limits of the body, and Frank, menacing and ridiculous in his voice-modulating bunny suit, was a fitting spokesman for the "whoa"-seeking philosophy Kelly was peddling.

Snowpiercer This one requires a spoiler alert. When Chris Evans, face dirtied, utters this line in Bong Joon-ho's Snowpiercer , a thriller about a class uprising on a train containing the last of civilization circling the globe, it's a total shock. Evans' hero, Curtis, has fought his way through most of the train before he makes the confession that, in the early days of this apocalypse, the poorest citizens were deprived of food and resorted to eating one another.

Curtis is a tortured soul because he knows what people taste like, and, by extension, he knows that "babies taste best. The Incredibles It's unlikely that Brad Bird and his cohorts knew that this was the one scene from The Incredibles that would go down in history as one of the best, funniest movie scenes of all time. It's mostly thanks to Samuel L.

Jackson, who plays icy superhero Frozone, and Pixar employee Kimberly Adair Clark as his wife, who, in the movies, always appears as a voice. The two bicker about Frozone's missing suit, his wife telling him that, no, he shouldn't go off and save the city from a giant rampaging robot because they have a date planned. The scene has inspired many covers and cursed remixes , but perhaps the best thing it gave us was an instant knee-jerk response any time someone in the room says "HONEYYYYY? Zoolander It's difficult to overstate the influence Zoolander has had on comedy in the 21st century.

The absurd concept, the over-the-top characters, the jam-packed script of lines designed to be repeated for months and years after audiences leave the theater. Plenty of quotes have taken up residence in standard pop-culture references: "Really, really, really, ridiculously good-looking," "So hot right now," "I think I'm getting the black lung, Pop," "Moisture is the essence of wetness," etc. Zoolander Ben Stiller is outraged, and his timing in this scene -- destroying the model, standing expectantly, then asking his rhetorical line -- makes the quote stand out.

More than Blue Steel or Magnum, the "center for ants" quote defines Derek Zoolander… and countless others trying to be just as funny upon encountering a small-scale model of a large object. Eternal Sunshine of the Spotless Mind Whispered by Kate Winslet's Clementine in the midst of a collapsing house and a disappearing memory, "Meet me in Montauk" is a last-ditch rescue attempt, a verbal Hail Mary tossed into the void before the clock runs out.

Of all the clever dialogue in Charlie Kaufman's Oscar-winning script, which he penned during a wildly productive burst of creativity in the early '00s, it's this earnest request that hits home the hardest, evoking a dream of a shared life and a chance at romantic redemption. Even after all the pain and heartbreak, you still want to see Clementine and Joel find each other and get another shot at reconstructing their relationship. Eternal Sunshine of the Spotless Mind understands that basic yearning for hope and connection.

Unsurprisingly, the line has inspired fans to travel to Montauk itself for trips and special screenings -- perhaps discovering their own fractured love stories along the way. Step Brothers Like the previous Adam McKay and Will Ferrell collaborations Anchorman and Talladega Nights , Step Brothers is a movie filled with incredibly funny lines, but this time the two writers were freed up by the movie's R-rating to chase some of their most bizarre, vulgar ideas.

That's part of why the famous but squeaky-clean trailer line "Did we just become best friends? How did "the biggest helicopter leasing event in the Western hemisphere since " come to mean so much to the movie's fans? Reilly and Will Ferrell save the day with their ridiculous musical performance at the event.

List of zombie films

In the years following the movie's release, the line has become a celebratory shorthand and a way of life: The New Orleans Saints said it in the locker room after they won the Super Bowl in , and it's also now a real event you can attend in California. As you'd imagine, McKay has expressed some ambivalence about the phenomenon, saying in a recent interview , "When you see the people who you're kind of making fun of embrace it, it's both hilarious, and at the same time, dispiriting. Almost Famous Cameron Crowe's semi-autobiographical screenplay about a year-old writer embedded with rising stars in the heyday of '70s rock is basically a sacred text for various groups: Journalists, musicians, and the proverbial "uncool.

Frances McDormand's performance as William Miller's exasperated mother is borderline underrated given that it's perhaps the least glamorous of the entire film. But all you need to do is watch her stop a lecture to declare, "Rock stars have kidnapped my son," to see what power she has. It's not Crowe's most poetic line, but it's one of his funniest. Whiplash J. Simmons' ruthless jazz conductor Terence Fletcher seethes variations of "not my tempo" throughout Whiplash , but the scene where he grills Miles Teller's first-year drummer Andrew Neiman if he's rushing or dragging behind the kit while rehearsing the title track, "Whiplash," is the movie's most iconic instance.

Anyone who's played in school bands can relate on some level to Fletcher's sociopathic motivational techniques designed to frighten his conservatory kids into nailing their repertoire -- a drummer friend who put himself through music school and now teaches lessons relayed a story about a professor who would notoriously curse out freshman who showed up to rehearsal unprepared. Watching Simmons embody one of those types of band leaders is both exhilarating and horrifying. Am I laughing because this scene is funny, or am I laughing because I'm scared??

Either way, it's effective. Cast Away For a long time, any beach-, summer-, or water-related activity was likely punctuated with your loudest friend shouting, "Wilson! Largely because he is a volleyball with a bloody handprint for a face, the scene and Hanks' dramatic pleas became instantly memorable… and, for better or worse, the subject of many spoofs , despite the film's critical acclaim. In context, though, it gets at the raw emotion of the human need for companionship, one of the essential drives that makes us human. Hanks moves from desperation and sorrow to sheer guilt "I'm sorry, Wilson!

It may be just a funny line in retrospect, but nobody else can emote over a volleyball like Hanks. Wilson's death goes down in one of cinema's most tragic, and we mourn him just the same. Peele was absolutely right: It's more than the line Missy says to Chris as his consciousness sinks further away from his paralyzed body. Much like the movie itself, it's a metaphor about race dynamics in America and representation in horror films that's been picked apart and memed many times over.

Chris's total loss of agency at the hands of a malicious white woman is a clear analog to the systems of oppression that have existed in this country since forever. It's far from the first dissection of this insidious societal mechanism on film -- but it's definitely the scariest, most jarring depiction we can think of. The Dark Knight Heath Ledger's Joker is undoubtedly the most chilling superhero villain ever put on the silver screen, and most of his menace comes from his lack of backstory, motivation, or anything that usually humanizes a villain just enough to impart a smidgen of empathy on the audience.

The Joker, by contrast, is a total blank, delighting in making up stories about his horrific facial scars. The most memorable, whispered to a group of gangsters in a pool hall, involves his drunkard father carving up his face with a kitchen knife, laughing while repeating to him, "Why so serious? Why so serious, when bringing out the worst in humanity can be so hilarious? In the Loop Before Armando Iannucci was scripting some of the most wonderfully cruel dialogue on television for his Veep , he made In the Loop , a film spinoff of his British series The Thick of It , starring Peter Capaldi as the gloriously profane director of communications Malcolm Tucker.

At one point, the hapless Secretary of State for International Development Simon Foster Tom Hollander gets himself an invite to the Future Planning committee in Washington and encourages his underling Toby Wright Chris Addison to leave the room and gather information. To which Toby responds: "No, it won't, it will be 'difficult difficult lemon difficult. Knocked Up In a far earlier era of blogging -- ! Probably not, if his current politics are any indication of his past. Back in pre-woke pop culture, it was just a satirical scene where an adult friend group of immature straight white dudes try, without appropriate language or informed politics, to talk about what to do when your bro knocks up a lady, thus begetting a hilariously backwards and stupid conversation.

Among the myriad reasons that Black Panther stood apart in the crowded superhero field was the characterization of its villain, Michael B. Jordan's Erik Killmonger. Killmonger is no one-dimensional bad guy. He's a man filled with justifiable resentment, who calls Wakanda out for its isolationist stance that allows black citizens of other countries like the US to suffer.

It gave fans a real-life Gosling-McAdams relationship. Like Love Actually , it gave couples lines to say to each other when their own feelings let them down. As McAdams and Gosling play and tease each other in the water, talking about reincarnation and feeling the exhilarating intoxication of new love, you just crave that killer romantic line that will make everything right in the world. Everyone swoons, and Gosling enters movie quote history. Michael Clayton Charting the machinations of a high-powered law firm fixer involved in a giant agrochemical cover-up, Michael Clayton is about as intense as thrillers come -- but no scene is as intense as Clayton's conversation with one of his firm's attorneys Tom Wilkinson who is in the midst of a mental breakdown, having realized that he's helped to engineer said cover-up, which has exposed people to known carcinogens.

Wilkinson's Arthur Eden, who's known to have manic episodes, rejects Clayton's pleas to start taking his medication again, and instead paces the floor and confessing his guilt. The scene peaks with appropriate self-aggrandizement when Arthur compares himself to the Hindu god of destruction, given how many innocent people he's allowed to die.