Top 1200 Movie Critic Quotes & Sayings - Page 3

They [Seth Rogen and Evan Goldberg] thought of this brilliant pot, or whatever, movie [Pineapple Express], an action movie and I guess they figured in a small role for a blonde. And they say that I did my part well. I added tears to the movie.

There are a few critics overseas, and occasionally a critic will write an astute analysis of the movie. There is value in reading critics that actually have something intelligent to say, but the journalistic community lives in a world of sound bites and literary commerce: selling newspapers, selling books, and they do that simply by trashing things. They don't criticize or analyze them. They simply trash them for the sake of a headline, or to shock people to get them to buy whatever it is they're selling.

Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.

My first movie I saw when I was a kid was 'The Jungle Book.' I was 5 years old, and I saw it in a movie theater. Seeing that movie really lit the fuse and ignited my passion for animation.

A movie is like a tip of an iceberg, in a way, because so little of what you do in connection with making a movie actually gets into the movie. Almost everything gets left behind.

I have this problem with violence. I've only done one movie in almost 20 years where I killed people. It's called Perdita Durango. It's a Spanish movie. I'm very proud of the movie, but I felt weird doing that.

I choose parts because I don't want to be embarrassed when the movie comes out. What if my friends were to see the movie? What if my niece or nephew wandered into the theater and saw the movie? I don't want to be too ashamed of it.

You just make the best movie you can and hope for the best, because you don't have any control over what happens with the movie, whether the movie is misinterpreted.

What 'Shaun of the Dead' and 'Hot Fuzz' and 'World's End' do is smuggle a different movie under the guise of a zombie movie or a cop or alien invasion movie. Even though they all have action and carnage, they are really films about growing up and taking responsibility.

My first-ever job in the movie business, I was an art student at Carnegie Mellon, and they were shooting the movie 'Gung Ho' in Pittsburgh, and I worked as an extra for a few days. Michael Keaton bumped into me in one scene, and it's in the movie. And I worshipped him.

I go to movies expecting to have a whole experience. If I want a movie that doesn't end I'll go to a French movie. A movie has to be complete within itself, it can't just build off the first one or play variations.

Christmas is relentless. It's around the clock. I sit with my little ones in front of the TV screen, and we watch movie after movie after movie.

I have a very simple definition of a good movie: a good movie makes you forget you're watching a movie.

The approach to that movie wasn't, 'Lets make this movie about Amsterdam and maple syrup.' The concept was, 'Lets go to Amsterdam. Amsterdam is fun.' So we flew to Amsterdam with our cameras and we saw what happened and then we got back and we sat down and we said, 'What's the movie here.' That's when we realized that the movie was 'The Maple Syrup Saga'.

I did a Christmas movie where I played Mrs. Claus because my children's favorite movie of all time was a Christmas movie that my father did in which he played Santa, and I was like, 'How often do they make a movie about Mrs. Claus?' and, 'My kids will love this.'

I liked Lost in Space,” Stefan said. “The movie or the TV series?” “The movie? Right. I had forgotten about the movie,” he said soberly. “It was better that way.

To be a movie star, you have to carry a movie. And to carry a movie where you play the title role is the supreme example.

Marketing does have a lot to do with the success of a film. But even more so, and especially since home video, I've learned that a movie has a life of its own. A movie goes out there, and it exists, and it continues. I'm always fascinated by what movie people bring up when they approach me.

I am a Gobot junkie, and I pitched the Gobots movie as an animated movie a few years ago, and we're trying to work something out now that the rights are cleared. But that's my dream project, besides 'The Goldbergs' - doing a Gobots movie.

I was in a movie called 'Vanishing on 7th Street,' and that was my first leading role in a movie. It's an apocalyptic thriller, and it's really cool. It's the first movie I ever shot.

Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.

So when Community came up and then the movie roles started happening I was very grateful. I am trying to be careful with the movie roles I select because if you pull the trigger too quickly, like choosing a lead role in a crappy movie then you will be put in movie jail and you will never be heard from again. If it's not a big hit you'll be forgotten pretty fast.

I don't really like those sorts of actresses who say, 'I don't want to make that movie,' but they make the movie. They just spend their time not liking being on a set and I just think it's absurd, because we are so lucky to do this job. When you accept to make a movie, just make the movie. And then it's more easy for relationships.

Sometimes I feel like every movie I make could be the last. I know that's not really the case, but if I think about it that way and I'm very careful, then maybe I can build a career, movie by movie, that I'm happy with.

I got my story, my dream, from America. The hero I had is Forrest Gump... I like that guy. I've been watching that movie about 10 times. Every time I get frustrated, I watch the movie. I watched the movie before I came here again to New York. I watched the movie again telling me that no matter whatever changed, you are you.

When I was a film critic, the reason I kind of found it disenchanting was because the things that I wanted to talk about were the ideas in the movie, the theme of it, and contextual elements that weren't necessarily central to the story. But the only thing people really wanted was a plot description and how many stars I'd give it. It didn't matter how much effort you put into writing a piece, they looked at it solely as a consumer's guide toward going or not going to films.

Why is a movie starring women considered a gimmick and a movie starring men is just a normal movie?

An eight-hour movie is definitely not a two-hour movie. An eight-hour movie is really like five independent films, if you think about it, because each is usually an hour and a half. In some ways, it is like making a movie. It's just a lot more information.

My favourite movie is '3 Idiots'. It's a Hindi movie and I also have a great collection of Hollywood movies and my favourite movie is 'Vertical Limit.'

I went to see a children's matinee at the movie theatre one summer, but at some point they had changed to the grown up movie in the late afternoon, and I ended up seeing this movie called 'The Bad Seed.' It just terrified me.

I got a movie I'm working on. 'A Gangsta's Pain' was actually supposed to be the soundtrack to the movie, but it got a little delayed, so the movie is going to come out after the fact.

If someone said, "Here, you have your pick, you can do either a musical, Moulin Rouge type of movie, where you sing and dance, or an action movie, or a Shakespearian or Elizabethan movie," I would definitely love to do a movie that was based on a musical, where I would get to sing, dance and act, all at the same time.

As the watcher of the screen, you are perfect. The movie that is playing on the screen might be horrendous, but you are not the movie. You are what is watching the movie.

Producers don't like the director who ignores their opinion - but I always try not to be the nicest person when making a movie. It's easy to do that. Just say 'Yes sir', "Alright', 'Okay' - but they're not seeing the movie because if they can, they should be directing the movie.

The person who goes to the Troma movie knows that he or she may love the Troma movie or, he or she may hate the Troma movie; but the movie goer knows that he or she will never forget the Troma movie.

There's nothing really original. Alien was a B-movie. Five directors passed on it before me. Because I was into Heavy Metal, I read it, and thought, "Wow, I want to do this." I was on a plane to Hollywood in 22 hours. It was a B-movie and was elevated to an A-plus movie by sheer good taste.

A Bug's Life' is a really funny movie and the characters have such different personalities. The movie is happy and then gets really sad and I'm like, W'hoa, I'm feeling this way and this movie is about bugs!

'A Bug's Life' is a really funny movie and the characters have such different personalities. The movie is happy and then gets really sad and I'm like, W'hoa, I'm feeling this way and this movie is about bugs!'

I'm not really a movie star. No matter what I do in acting, whether I'm good, how much work I get, whatever, I never will be a movie star. Because I never think of myself as one. You are a movie star because you think of yourself as a movie star and always have.

I think what's fun of making a Transformers movie is that it gets to be all of the above. I think, thematically, this movie is ... because of the third movie, you can ask questions in this movie you couldn't ask in the previous films. Like I was referring to the fact that they were abandoned by humans in the previous film; their attitude is different, so we've been able to tackle different themes.

With Dawn I was afraid people would just think it's a B-movie and I didn't know what I was doing. That's really what I was afraid of. Like the subtlety of the movie they would miss. If the movie succeeds, it's that people understand the subtlety. That they're able to see past the conventions of what they think a movie is and go a teeny bit deeper and let it be both.

Night Watch itself is a very Russian movie. Its impossible to imagine this kind of movie somewhere else: a movie with a depressing ending, a lot of inexplicable storylines, strange characters. Its a Russian reflection of American film culture.

To some degree, the critic arises out of that negativity bias in that our brains are oriented towards threat and toward survival. The critic really started as a survivor mechanism in early infancy and childhood when we were trying to navigate our early family system and culture; when we're learning how to fit in so we could optimize that flow of love and affection. It was an internal voice telling us to shut certain patterns and reactions down, that negativity bias that's always looking for what's wrong, looking for the threat.

If you have a flop movie, so what? And if you have a hit movie, it's 'so what,' too - it's on to the next movie.

The problem with 'Don't Be Afraid of the Dark' was that it was designed to be a PG-13 movie. It was literally a horror movie for a younger generation. I was trying to do the film equivalent of teenage, young adult readers, and when they gave it an R rating, the movie couldn't sustain an R.

Every movie you're going to forget that it's 3D whether it's widescreen or whatever it is, you're going to forget everything if the movie is working. If the movie doesn't work or if the movie generically doesn't work then immediately you start to pick apart whatever has contributed to that.

I can't stress it enough that we genuinely love 'The Room.' Like I said, I've seen it more than any other movie that's ever been made, and it gets to a point where if a movie is that watchable, when can we just call it a good movie?

I never really did years of movie-after-movie-after-movie but when you've got three toddlers in the house you're performing all day long, anyway, with puppet shows and stories - I act around the clock.

It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.

You put a movie star or a bunch of movie stars in a movie, it doesn't mean people are gonna go see it. It's been proven time and time again.

There's nothing more disheartening than seeing a movie and going oh, that doesn't work, or it didn't inspire us. Versus seeing a movie that is 'this is so awesome!'. Oftentimes, a really good movie just inspired you to go and make movies!

As far as the hate, it makes me laugh. Everybody is a critic. Every critic I've ever had, they weren't wrestlers. Every wrestler I've ever had critique me, they were always into my stuff or what I'm doing out there. For a non-wrestler, someone who doesn't even know how to lock up, and if we did lock up, they wouldn't know what to do, for them to critique any of us, it really does pop me.

I went to Yugoslavia to make a movie. People saw me there and asked me to do a movie in Germany. And that led to a movie in Italy. Before I knew it, I was in Europe for most of the next 10 years.

I guess they still show the movie in school, so around the time of movie showing, my Facebook inbox and my Instagram DM is flooded. "Are you the Quindon Tarver from the movie Romeo + Juliet? Oh my god, you did a great job."

I go to movies expecting to have a whole experience. If I want a movie that doesn't end, I'll go to a French movie. That's a betrayal of trust to me. A movie has to be complete within itself; it can't just build off the first one or play variations.

I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them, anyway!

I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.

I didn't even know how to judge 'Die Hard 1.' It's not anything I know how to judge. I'd never seen an action movie. I'd never seen a Sly Stallone movie or an Arnold Schwarzenegger movie or a Charles Bronson movie. And that is the truth.

'Anchorman' was never supposed to be a popular, like, hit movie. That movie was a cheap movie - it felt like we were working on a weird independent comedy in a way.

I was in the very first Scary Movie and then the last Scary Movie 4, so I don't know. I heard they're doing another one, but I'm not sure yet. Of course, I'd love to work on Scary Movie 5. That'd be great.