Dismissed Movie Quotes

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Every film is political. Most political of all are those that pretend not to be: 'entertainment' movies. They are the most political films there are because they dismiss the possibility of change. In every frame they tell you everything's fine the way it is. They are a continual advertisement for things as they are.
Wim Wenders
As soon as teenage girls start to profess love for something, everyone else becomes totally dismissive of it. Teenage girls are open season for the cruelest bullying that our society can dream up. Everyone's vicious to them. They're vicious to each other. Hell, they're even vicious to themselves. It's terrible. So if teenage girls have something that they love, isn't that a good thing? Isn't it better for them to find some words they believe in, words like the 'fire-proof and fearless' lyrics that Jacqui wrote? Isn't it better for them to put those words on their arm in a tattoo than for them to cut gashes in that same skin? Shouldn't we be grateful when teenage girls love our work? Shouldn't that be a fucking honor? It's used as the cheapest, easiest test of crap, isn't it? If teenage girls love a movie, a book, a band, then it's immediately classified as mediocre shit. Well, I'm not going to stand for that. Someone needs to treat them like they're precious, and if nobody else is ready to step up, I guess it's up to us to put them on the path to recognizing that about themselves.
Mary Borsellino (The Devil's Mixtape)
What matters is that you do good work. What matters is that you produce things that are true and will stand. What matters is that the Flaming Lips’s new album is ravishing and I’ve listened to it a thousand times already, sometimes for days on end, and it enriches me and makes me want to save people. What matters is that it will stand forever, long after any narrow-hearted curmudgeons have forgotten their appearance on goddamn 90210. What matters is not the perception, nor the fashion, not who’s up and who’s down, but what someone has done and if they meant it. What matters is that you want to see and make and do, on as grand a scale as you want, regardless of what the tiny voices of tiny people say. Do not be critics, you people, I beg you. I was a critic and I wish I could take it all back because it came from a smelly and ignorant place in me, and spoke with a voice that was all rage and envy. Do not dismiss a book until you have written one, and do not dismiss a movie until you have made one, and do not dismiss a person until you have met them. It is a fuckload of work to be open-minded and generous and understanding and forgiving and accepting, but Christ, that is what matters. What matters is saying yes.
Dave Eggers
One of my delights in these books, on the other hand, has been to include movies not often cited as “great”—some because they are dismissed as merely popular (Jaws, Raiders of the Lost Ark), some because they are frankly entertainments (Planes, Trains and Automobiles, Rififi), some because they are too obscure (The Fall of the House of Usher, Stroszek). We go to different movies for different reasons, and greatness comes in many forms.
Roger Ebert (The Great Movies II)
Real shrewdness means not letting any shrewdness show. It’s not like in the movies. The truly astute don’t sit in the shadows all day striking a pose. They don’t show off that they’re using their brains. They look all carefree and innocent. Some of them are tacky and mawkish, others careless and unserious. What’s critical is not to let others think you’re a person of interest. Let them look down on you or dismiss you and they won’t feel you’re an obstacle. You’re just a broom in the corner. The pinnacle of this is to make them not notice you at all, as if you don’t exist until the moment right before they die at your hands.
Liu Cixin
Batman was the only D.C. title in the bunch, and just barely. He had liked the movies more than the books, but there was something about the character that he just couldn’t dismiss. Maybe it was the fact that Batman was just a man with a neat suit. No super powers, no glowing rocks, no fast-motion – just a man with a mission. Man with a mission.
Chet Williamson (A Haunting of Horrors: A Twenty-Novel eBook Bundle of Horror and the Occult)
If you find yourself in conversation with someone you know and that person brings up someone you both know and before he says another word you mutter, “That guy’s a fucking asshole,” you might be a little bitter. If you find yourself dismissing universally acclaimed landmark achievements, saying, for example, “The Godfather is an okay movie,” you might be bitter.
Marc Maron (Attempting Normal)
What did she say?" Lauren breathed. "She told me to check the oil," Nick replied imperturbably. Despite his outward attitude of total indifference, Lauren couldn't believe that as a younger man he'd been so vulnerable. Surely having his own mother treat him as if he didn't exist must have hurt him terribly. "Is that all she said?" she asked tightly. Unaware that Lauren was not sharing his ironic humor in the story,he said, "No-I think she asked me to check the air in her tires too." Lauren had kept her voice neutral, but inwardly she felt ill. Tears stung her eyes, and she turned her face up to the purpling sky to hide them,pretending to watch the lacy clouds drifting over the moon. "Lauren?" His voice sounded curt. "Hmmmm?" she asked,staring steadfastly at the moon. Leaning forward,he caught her chin and turned her face toward his. He looked at her brimming eyes in stunned disbelief. "You're crying!" he said incredulously. Lauren waved a dismissing hand at him. "Don't pay any attention to that-I cry at movies too.
Judith McNaught (Double Standards)
She had lived in eight different countries growing up and had visited dozens of others. To most people, this sounded cool, and in some ways, Ayers knows, it was cool, or parts of it were. But since humans are inclined to want what they don't have, she longed to live in America, preferably the solid, unchanging, undramatic Midwest, and attend a real high school, the kind shown in movies, complete with a football team, cheerleaders, pep rallies, chemistry labs, summer reading lists, hall passes, proms, detentions, assemblies, fund-raisers, lockers, Spanish clubs, marching bands, and the dismissal bell.
Elin Hilderbrand (Winter in Paradise (Paradise, #1))
Such arguments remind me of a scene from Woody Allen's movie Manhattan, where a group of people is talking about sex at a cocktail party and one woman says that her doctor told her she had been having the wrong kind of orgasm. Woody Allen's character responds by saying, “Did you have the wrong kind? Really? I've never had the wrong kind. Never, ever. My worst one was right on the money.” Grace works the same way. It is what it is and it's always right on the money. You can call it what you like, categorize it, vivisect it, qualify, quantify, or dismiss it, and none of it will make grace anything other than precisely what grace is: audacious, unwarranted, and unlimited.
Cathleen Falsani (Sin Boldly: A Field Guide for Grace)
But if we have learned anything in the cinema-making efforts of Christians in recent years, it is that you can’t make beautiful movies unless you understand and love the medium. You can’t love and understand something you fear, or disdain, or dismiss.
Douglas M. Beaumont (The Message Behind the Movie: How to Engage with a Film Without Disengaging Your Faith)
get him killed by … someone. Someone scary enough that the huntress doesn’t want to get involved. She whacks like seven-eight of their guys, but she doesn’t want to get into this. Stupidly, Alpha Male charges ahead where the Goddess of the Hunt fears to tread. Because my rallying cry is “MORONS FORWARD!” or something of that sort. Mercy. I say none of this to Dr. Perugini, because a) she’s not going to believe me, and b) none of this makes me look cool, especially the part where I’m not the Big Damn Hero doing the saving. Also, there are a lot of tourists around us and most of them speak English. Call me self-conscious, but I don’t want anyone thinking I’m crazy. There is still a widely accepted cult of skepticism about the existence of metahumans, even after the Minneapolis incident. We go through a corridor of tapestries, and one of them has a Jesus that the tour guide swears is watching. I picture someone behind the wall like in the old movies, eyeballs staring out, then dismiss that thought as utter nonsense. Then I move, and I swear the tapestry’s eyes move with me. No, I am not a fan of the “Jesus is watching” tapestry. It’s like he can sense my impure thoughts about Dr. Perugini and he is not pleased. Come on, man, your dad supposedly intelligently designed her. Like this wasn’t predictable.
Robert J. Crane (In the Wind (Out of the Box, #2))
Others find it easy to dismiss the Bible out of hand, as negative, vengeful, violent. I can only hope that they are rejecting the violence-as-entertainment of movies and television on the same grounds, and that they say a prayer every time they pick up a daily newspaper or turn on CNN. In the context of real life, the Bible seems refreshingly whole, an honest reflection on humanity in relation to the sacred and the profane.
Kathleen Norris (Amazing Grace: A Vocabulary of Faith)
As a group grows, the balance of incentives shifts from encouraging individuals to focus on collective goals to encouraging a focus on careers and promotion. When the size of the group exceeds a critical threshold, career interests triumph. That’s when teams will begin to dismiss loonshots and only franchise projects—the next movie sequel, the next statin, the next turn of the franchise wheel—will survive. Even more important, we will see how to control that transition: how to change the magic number.
Safi Bahcall (Loonshots: How to Nurture the Crazy Ideas That Win Wars, Cure Diseases, and Transform Industries)
I had read stories, novels, seen manuscripts, seen movies on TV and in the theater, it's almost a cliche, but if cancer can be said to have any compensations, surely that is it: the final meetings, the wait together. The moment when the mother, while peeling potatoes or sorting clothes or setting her hair for the trip to the hospital, says some simple word or tells some new story and the daughter sees, for all of her life, what the love between them has been. The days when the daughter, waiting at the hospital, reviews her own life, and taking her mother's frail hand says, "Thank you" or "I'm sorry," or simply "Mother, I'm here. Don't worry, I'm here." If cancer can be said to have any compensations, surely it is in the cliche of time allowed. Time to say what can no longer wait to be discovered. Time when death is not merely a thought to put your teeth on edge, to be dismissed with a swallow, when life is marked clearly by beginnings and endings, by spoken words that mean something and change everything.
Alice McDermott (A Bigamist's Daughter)
Silence replaces conversation. Turning away replaces turning towards. Dismissiveness replaces receptivity. And contempt replaces respect. Emotional withholding is, I believe, the toughest tactic to deal with when trying to create and maintain a healthy relationship, because it plays on our deepest fears—rejection, unworthiness, shame and guilt, the worry that we’ve done something wrong or failed or worse, that there’s something wrong with us. ♦◊♦ But Sara’s description is more accurate and compelling than mine. Her line, “quietly sucks out your integrity and self-respect” is still stuck in my head three days later. It makes me think of those films where an alien creature hooks up a human to some ghastly, contorted machine and drains him of his life force drop by drop, or those horrible “can’t watch” scenes where witches swoop down and inhale the breath of children to activate their evil spells of world domination. In the movies, the person in peril always gets saved. The thieves are vanquished. The deadly transfusion halted. And the heroic victim recovers. But in real life, in real dysfunctional relationships, there’s often no savior and definitely no guarantee of a happy ending. Your integrity and self-respect can indeed be hoovered out, turning you into an emotional zombie, leaving you like one of the husks in the video game Mass Effect, unable to feel pain or joy, a mindless, quivering animal, a soulless puppet readily bent to the Reapers’ will. Emotional withholding is so painful because it is the absence of love, the absence of caring, compassion, communication, and connection. You’re locked in the meat freezer with the upside-down carcasses of cows and pigs, shivering, as your partner casually walks away from the giant steel door. You’re desperately lonely, even though the person who could comfort you by sharing even one kind word is right there, across from you at the dinner table, seated next to you at the movie, or in the same bed with you, back turned, deaf to your words, blind to your agony, and if you dare to reach out, scornful of your touch. When you speak, you might as well be talking to the wall, because you’re not going to get an answer, except maybe, if you’re lucky, a dismissive shrug.
Thomas G. Fiffer (Why It Can't Work: Detaching from dysfunctional relationships to make room for true love)
Johnson defuses the bomb. Jackie Chan runs around trying to beat up all the guys AND save all the art, which is a 10/10 formula... Then Jackie Chan falls too, but Chris Tucker saves him. NOW THEY ARE TRUE BEST FRIENDS AND THEY GO ON A BEACH VACATION TOGETHER TO HONG KONG. Rush Hour is a flawed thing, a creature of 1998, and it is not my jurisdiction to dismiss its faults. But complicated love is still love.
Lindy West (Shit, Actually: The Definitive, 100% Objective Guide to Modern Cinema)
I remembered from movies and TV that a human being striking a window could cause it to shatter, but the glass was too strong or I was too weak. My body didn't do much anymore when I put it to things. I didn't even make much noise pounding my fist against the glass: the ones that turned to look dismissed me almost before they had swiveled their heads. I might have been a painting of a hysterical female, paused in motion and screaming decoratively. But my throat was going raw, and my hands hurt dully.
Alexandra Kleeman (You Too Can Have a Body Like Mine)
Some people don’t even realize they’re bitter. If you don’t know whether you are or not, here’s a quick quiz you can give yourself. If you ever wake up in the morning and the first thing you say is “Oh, fuck, not again,” you might be a little bitter. If you find yourself in conversation with someone you know and that person brings up someone you both know and before he says another word you mutter, “That guy’s a fucking asshole,” you might be a little bitter. If you find yourself dismissing universally acclaimed landmark achievements, saying, for example, “The Godfather is an okay movie,” you might be bitter.
Marc Maron (Attempting Normal)
Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.
Ronald Brownstein (Rock Me on the Water: 1974—The Year Los Angeles Transformed Movies, Music, Television and Politics)
However, it is important to note that Breonna Taylor's story does not solely define her. While she may not have pursued a career as a doctor, nurse, or ambulance personnel, (she wasn’t Holy Mary) it is unfair to dismiss her intelligence or potential. As much as it is unfair to say „she was such a bright lady, and was always doing the right things in life, she was about to become a doctor, saving lives, and of course she was such a good kid.” The evidence shows otherwise. „Don’t let anyone tell you otherwise.” Martina was such a good kid too. On the surface. The mask of sanity. Mirroring the victim. Illusion. Illusionist. Not with her hairy thing. But that smile. Like Monroe in the movies. „Hollywood.” „Holy.” Wood. The Cross. The Show. Atop a hill. „Look look.
Tomas Adam Nyapi (BARCELONA MARIJUANA MAFIA)
Unfortunately, wacky ideas have dominated the public dialogue in tech to the point that important conversations about social issues have been drowned out or dismissed for years. Some of the ideas that come out of Silicon Valley include buying islands in New Zealand to prep for doomsday; seasteading, or building islands out of discarded shipping containers to create a new paradise without government or taxes; freezing cadavers so that the deceased's consciousness can be uploaded into a future robot body; creating oversized dirigibles; inventing a meal-replacement powder named after dystopian sci-fi movie Soylent Green; or making cars that fly. These ideas are certainly creative, and it's important to make space in life for dreamers–but it's equally important not to take insane ideas seriously. We should be cautious. Just because someone has made a mathematical breakthrough or made a lot of money, that doesn't mean we should listen to them when they suggest aliens are real or suggest that in the future it will be possible to reanimate people, so we should keep smart people's brains in large freezers like the ones used for frozen vegetables at Costco.
Meredith Broussard (Artificial Unintelligence: How Computers Misunderstand the World)
In Chapter 22, I mentioned people who fit the Seven S’s criteria, whose opinions have informed my own and provide me with further reasons to take the life-after death hypothesis seriously. They included: 1.A CEO of a major corporation 2.A former publisher who is the editor-in-chief of an award-winning newspaper 3.A former chairman of the department of surgery at a major university 4.A former chairman of the department of material sciences at a major university 5.An award winning composer for movies and television 6.A former high ranking staff member of the Joint Chiefs of Staff, 7.The director of a major foundation, educated at Harvard University, and 8.A distinguished anthropologist who was the director of an internationally known research institute. In the spirit of Criterion 5, I have reviewed this list and attempted to determine whether there were any responsible and justified reasons for challenging my evaluations of these people. Try as I might I cannot in good conscience dismiss any of these people as being untrustworthy. In sum, I cannot find valid reasons for concluding that these individuals no longer deserve my admiration and respect. Yes, I can point out a given person’s limitations (at least the ones I am aware of), but these do not impact the logic of my concluding that they meet each of the 7 S’s criteria for being credible and trustworthy. Hence, Criterion 3 passes the test posed by Criterion 5.
Paul Davids (An Atheist in Heaven: The Ultimate Evidence for Life After Death?)
For most Westerners, 'harem' is a word which conjures up a heady image of some kind of closely guarded Oriental pleasure palace, filled with scantily clad nubile virgins, stretched out on pillows in languid preparation for nights of sexual adventure in a sultan's bed. It is a world of scatter cushions, jewels in the belly button, gyrating hips, and fluttering eyelashes set above gauzy yashmak (face veils). These cliches find their most vivid expression in nineteenth-century Orientalist paintings and in popular movies. This vision of Eastern sensual excess has often led scholarship to dismiss the notion of the harem as a Western fabrication, an open sesame to an Arabian Nights fantasy world. If we want to utilise the word 'harem' in its correct context and use it to consolidate some legitimate facts about royal women in the Persian empire, we must dispense with the Orientalist cliches entirely and understand what, in historical terms, a 'harem' was all about.
Lloyd Llewellyn-Jones
You are useless!' I said, getting to my feet. 'I know people who go to their families for advice and they actually help.' 'That's in the Hollywood movies,' Dad said dismissively. ' You need to talk to a lawyer about this problem.' 'You are a lawyer.' 'No, a different lawyer.' 'One that cares?' Adrianne raised an eyebrow at him.
Cecelia Ahern (How to Fall in Love)
Such risk aversion breeds its own failure. So deeply rooted is gentrification that Richard Florida has now modified his widely acclaimed thesis about the rise of the creative classes. Cities are becoming too successful for their own good. Until recently, he believed they would be the engine rooms of the new economy, embracing the diversity necessary to attract talent. That has certainly happened. Gay pride parades seem to get larger every year. A thousand multicultural flowers are blooming. Yet in squeezing out income diversity, the new urban economies are also shutting off the scope for serendipity. The West’s global cities are like tropical islands surrounded by oceans of resentment. Florida’s latest book is called The New Urban Crisis. Rather than being shaped by those who live there full-time, the characters of our biggest cities are increasingly driven by the global super-rich as a place to park their money. Many of the creative classes are being edged out. Urban downtowns have turned into ‘deadened trophy districts’. New York’s once-bohemian SoHo is now better known for its high-end boutiques than its artists’ studios. SoHo could nowadays be found in any big city in the world. ‘Superstar cities and tech hubs will become so expensive that they will turn into gilded and gated communities,’ Florida predicts.51 ‘Their innovative and creative sparks will eventually fade.’ Karl Marx was wrong: it is the rich who are losing their nation, not the proletariat. The gap between global cities and their national anchors is already a metaphor for our times. By contrast, the rise of the robot economy has only half lodged itself in our expectations. It is easy to dismiss some of Silicon Valley’s wilder talk as the stuff of science-fiction movies. But the gap between sci-fi and reality is closing.
Edward Luce (The Retreat of Western Liberalism)
It may have been derivative, lighthearted fluff but Once Upon a Dead Man also seemed like the ideal vehicle to help facilitate Rock Hudson’s transition from movie to television star (even if he dismissively referred to the tube as “illustrated radio”). The much-publicized two-hour movie would serve as the pilot for a new NBC series called McMillan & Wife.
Mark Griffin (All That Heaven Allows: A Biography of Rock Hudson)
How did your research go?” “Oh, that.” Alejandro waved a hand. “The people recover from the fit after a few minutes of being removed from the environment. And they’re perfectly fine afterwards. I’m assuming that means that if they hear the same song or see the same movie again it has no effect.” “Hmm,” Max said. Crystal looked at him. “What?” Max asked. “You said ‘hmm’.” Alejandro snorted. “You’ll get used to him saying ‘hmm’. He does it to sound wise.” “The way I designed the beat structures,” Max said, ignoring Alejandro. “People are supposed to be affected but not know it. The more I think about it, the more certain I am that these fits are because I did not complete my work and had only tested it on a limited number of people.” Alejandro rolled his eyes. “Can I continue to give my feedback or do you want to bore us all about your scientific research?” “Your feedback is about my research.” “No it’s about the effects of your research, which, might I add, was highly unethical and inimical.” “He just said inimical,” Max said, clapping. “He knows a word that’s more than two syllables.” “Unethical is more than two syllables, too,” Alejandro retorted. “Two words!” Max snorted. “He’s a genius.” “Going back to my findings,” Alejandro said, glaring at Max, and then turning to Crystal. “I don’t trust them. I don’t trust anything I read in the papers or see in the media. Especially when it’s something related to the SOT. Luke is too powerful. The truth about these fits will never be reported. If we want to know what’s really going on, we will have to go out and find out for ourselves.” “Agreed,” Crystal said slowly. “He actually sounded pretty intelligent then,” Max whispered to Donovan. “I propose that—” “He has a proposal!” Max said. Alejandro gave Max a dismissive look. “Those with brains alone always envy and persecute those possessing both beauty and brains.” Crystal held back a snort of laughter. Even Donovan looked amused despite the deep frown of strain on his forehead. Juda’s expression didn’t change. Max glowered at Alejandro. “Why would a man refer to himself as beautiful?
Dayo Benson (The Crystal Series Boxed Set: Searchlight, Surrender & Insurrection (The Crystal Series #1-3))