Mosts

Following are what I consider to be the finest scenes, moments, looks, lines, what-have-you, in a completely unsorted list of movies. Many may question my taste, especially when I include good scenes in otherwise mediocre (even downright crappy) movies. And since my tastes run towards the "fantastic" film, meaning sci-fi, fantasy, horror, and occasional run of the mill comedies, most moments will be from those genres. I'm no fan of dramas, romances, or other "chick movies," so don't expect me to get all weepy about whoever dies in Terms of Endearment.

Revenge of the Nerds- the pep rally at the end, from the moment Gilbert grabs the microphone to the swelling of Queens' We Are the Champions. No joke - I get a chill every time I watch this. Why, was I a nerd, too, or something? Jeez, whadda you think?
Revenge Revisited - the nerds' techno tune during the battle of the Greek houses.

Time Bandits- "Return what you have stolen from meeee!" The Bandits and Kevin run frantically down a neverending corridor, pushing the wall before them, as the glowing, floating head of the Supreme Being chases them. Finally the wall falls away into nothing, and they along with it. I saw this as a kid and was blown away.
Revisited - David Warner as Evil. All of his scenes, that is. And one drop of concentrated evil was enough to blow up a boy's parents.

Dogma - Jay's rant at God - To be fair, Jay didn't know at whom he was ranting. Even standing right in Her Presence (personified by Alannis Morissette), he just didn't get it. Anyway, I regard this as Jason Mewes' finest comedic moment as "Jay" (no last name), the more loquacious half of the comedy team of Jay and Silent Bob. After God has dispatched wayward angel Bartleby by blowing up his head and chest with the power of Her True Voice, Jay confronts Her with a vulgarity-laden ode to total cluelessness ("WHO THE FUCK ARE YOU, LADY? WHAT THE FUCK HAPPENED TO THAT GUY'S HEAD?" et al) until stopped by Her gentle kiss on his cheek. As the rant builds, I can't help but laugh no matter how foul my mood is (and believe me, I've watched Dogma during some VERY difficult times). As the film closes, we're left wondering if Jay has EVER figured out who that hot chick was.

Planet of the Apes- there's that Heston guy again. But as the first and best of the Apes movies (with Escape from... a close second), it had the best lines and most startling scenes. Heston collectors can choose from many, all shouted, of course: "GET your stinking paws off me, you damned dirty ape!" "It's a madhouse! A MAAAAADHOOOOOUSE!" "You cut up his BRAIN, you bloody baboon!" and the climactic "Damn you all... ta HELL!" as it's revealed that this alien world is actually... Earth. A post-apocalyptic Earth where the Statue of Liberty lies buried halfway in the sand. No wonder it's called The Forbidden Zone. As for imagery, the Statue of Liberty is THE classic final image in my book, and for shock effect, it's hard to beat Taylor's race through a museum full of real stuffed humans. He "meets" his former colleague there, now stuff and mounted. He's reunited with his other fellow astronaut, now sporting a spanking-new lobotomy scar. A charming world, but then, the apes had good teachers.

Escape From the Planet of the Apes - shopping montage - Zira and Cornelius go on a shopping spree that parodies similar such scenes in other movies. At the end, Zira sees a stuffed gorilla in a museum and faints. Onlookers think she's in shock from the sight. "Shock, my foot - I'm pregnant!" she snaps.
Revisited - in a courtroom, Zira is answering most of the questions. A panelist asks if "the male" (Cornelius) can speak. He stands up, glaring, and growls, "Only when SHE lets me." The whole courtroom erupts into laughter, and Zira and her "male" share a hug. More human than human, they be.

The Poseidon Adventure - do I even have to write out the best part of this film? Sorry, no surprises from me. The flip IS the movie to me. Screw Cameron and that big boat he took 3 hours to sink. I saw this one first and still regard it as the ultimate disaster movie. Leslie Nielsen, who at the time was still in full dramatic hero mode, is the captain who gets to see the wall of water a few seconds before it kills him and his bridge crew and flips his ship over in glorious slow motion. Well, not slow motion so much as slowLY. Partyers hit the final notes of "Auld Lang Syne" before the ship starts tilting just a tad. Then a tad more, and a tad more, until it's clear that this New Year is not getting off to a good start. Passengers and crew slide along the floor and pile up against each other, still more clinging for life to the bolted-down tables finally let go, and one poor schlub falls right into the skylight. Granted, the tables wouldn't be bolted down so that the ship's staff could reposition, or even clear it, as needed, but how much can you nitpick a scene like this?

Wayne's World - Bohemian Rhapsody - not only did this pretty much revive the Queen classic, it was a damned funny scene. Wayne, Garth and the Wayne's World crew cruise in the aptly-named Mirthmobile in search of parties in Aurora, Illinois. Wayne calls out Bohemian Rhapsody as the next number, and the lip-synching begins. Wayne takes point as the others sing along for real as the chorus. Of course the scene skips right to the good part - that bizarre, mid-song opera about the trial of Galileo - but don't we all do that, anyway? Even the healing power of music is brought home when Phil, the gang's "partied out" pal, is brought on board the Mirthmobile and is revived by the final "Let me go!" chorus. Ah, the power of Queen.

Wayne's World II - Stan Makita's drive-through - Wayne Campbell owns Aurora. He can go anywhere and do anything. Or can he? Hoping to stump the drive-through guy and make good on Stan's promise that "if we get the order wrong, you get it free," Wayne and Garth place a huge order while blanking out randomly as though the the microphone is on the fritz. A moment of pure mirth, and Wayne will surely win. Wrong! The drive-through guy reads back their order perfectly. No freebies this time, boys.
Revisited - Wayne and compadres, in various disguises, escape the bad guy and stumble into a gay bar. The DJ spots them and shines the spotlight on them, and they have no choice but to dance to "YMCA." Why that song? Well, now that they're all together on stage, we see they're disguised as a cop, a biker, a construction worker, and a sailor. 4 out of 5 Village People ain't bad. Too bad only Wayne can see the naked Indian guy who finally finishes the quintet.

The Nutty Professor (remake) - insult comic deflated - Earlier in Eddie Murphy's version of this flick, he and his date go out to a comedy club, where an insult comic is the star. Too late, he realizes what's coming his way and tries to escape. Of course the comic spots him and lays a merciless string of fat jokes on Sherman Klump. He takes them good-naturedly, but the comic never lets up, and the scene fades out as his expression shows the pain setting in.
Fast forward to the professor's alter ego, Buddy Love, come to life thanks to Sherman's super weight loss formula. He's managed to smoothtalk his way into a date with Sherman's girlfriend, and they return to the same comedy club. Sho' nuff, the comic is back. She wants to leave; he insists on staying, and begins to laugh so long and so loudly at the jokes that the comic stops his routine. It looks like Buddy is indeed his buddy, but a trap has been laid. Feigning amusement, Buddy turns the comic's own routine on him and beats him as no heckler has ever beaten a comic - linguistically and literally. The comic finally resorts to violence and is bested again by Buddy, who tortures him into a duet of Minnie Ripperton's "Lovin' You." Personally, I've never been targeted by an insult comic, but being fat myself, Sherman's pain hit close to home, making the comic's comeuppance much more enjoyable.

The Terminator - "I'll be back" - It's not the line, which Schwarzenegger has been forced to say in almost every movie since, but what The Terminator does after he says it. Kyle Reese, soldier of the future, and Sarah Connor, future soldier, have been caught by the police. Kyle is interrogated in another room while Sarah is fed coffee and assured that she's safe now. She's in a police station, after all. The Terminator enters the station and tries to talk his way past the desk sargeant ("I'm a friend of Sarah Connah's; I vuss tolt she iss here"), but is not allowed inside. He sizes up the lobby, leans forward and says, "I'll be back." Indeed. A few seconds after leaving, headlights come on, a motor is revved, and a car crashes right into the lobby and crushes the sargeant and his desk. From there the Terminator casually strolls through the hallways, terminating every cop he sees, shrugging off every bit of ammo they fire back, until the entire station is filled with smoke, fire, and the screams of dying policemen. Whatever doubts Sarah had of Kyle's story or his sanity die as quickly as her police "protectors." There really is an unstoppable cyborg killing machine after her, and it really doesn't feel pity, or remorse, or fear. The cold, calculated rampage is Sarah's galvanizing moment, and the most difficult to watch in repeat viewings.

Star Trek 2: Wrath of Khan - Spock's death - one of my most embarassing moments came during my 5th, 6th, or whenever viewing, I don't remember which one it was. For the first (and last) time ever, I cried during a movie. The first time I saw this movie, it was in a drive-thru (oh, how nostalgic we felt), and I could barely see a thing onscreen thanks to city lights. Then the movie aired on Showtime, giving me an opportunity to see what was going on. For reasons totally unknown to me, I allowed myself to get caught up in a movie. I already knew Spock was going to die, and even then, figured someone would figure out how to bring him back before or during the next movie. I mean, main characters just don't DIE on Star Trek. Red shirts, yeah, but not main characters. Long story short, Spock died, my mother decided right at that moment to come into the TV room to say hi, noticed that something had upset me, and followed me around the house, begging for a clue until I finally broke down into tears and still took several minutes to admit that a movie - a friggin' STAR TREK movie - had made me cry. Happy?? Ehh, go away and leave me alone.

Austin Powers 1 and 2 - naked ballets. There are a few scenes in both films where Austin, his shagadelic girlfriend, or both, is buck naked onscreen. But no need to fear, fellow puritans: the objects in the rooms all do their parts to hide the naughties. From laptops to fruit to potted plants to balloons, we almost, but never quite see "it" in those splendidly choreographed ballets of not-quite-nudity. The second film only improved upon these dances during the opening credits.

Galaxy Quest - the "crew," recruited - the poor hack actors, forever trapped in convention hell, think they've just been hired for yet another convention appearance (jeez, no wonder these people never take off their costumes). Instead they are covered in clear goo and blasted through a wormhole in space, to materialize onboard the Thermian's space station. The stunned, shaking actors stare speechless as hideous, gibbering, tentacled creatures enter the room and probe them with bizarre instruments. Then the creatures morph into human form and apologize profusely for forgetting their appearance generators. Tim Allen, aka Jason Nesmith, aka Commander Peter Quincy Taggart, arrives and greets them all merrily. Now it's anonymous Crewman No. 6's moment to vocalize what they've all been thinking until now: one long, terrified scream that only ends when he runs out of breath. But leave it to the unflappable Fred Kwan, aka Tech Sargeant Chen, to show up a second later, shake off his goo, and wander off with Nesmith as though he'd just gotten off an elevator.

Tommy Boy - "Superstar" - Chris Farley and David Spade are forced to hit the road in order to save Tommy's dad's auto parts business, who has died on his own wedding day. Like for most road trips, they let the radio pick their music. It treats them to a good supply of AC/DC and other "cool" bands, until The Carpenters' "Superstar" comes on. Treacly. Sentimental, and worst of all MELLOW. No one wants to listen to the Carpenters. Farley and Spade, though, keep deferring to each other to change it. "Go ahead - no, you go ahead - no, you" until before you know it, the two of them are bellowing along with the chorus and wiping away tears. Why a great moment? If you've ever been on a cross-country trip, you'd know why. Call it Driving Fever, if you wish. The same fever that caused me to burst into uncontrollable giggles every time I said the name "Yonkers," as my companion and I neared New York.

Superman 2 - the first major battle between Supes and the 3 Kryptonian criminals. The best comic book style fight ever filmed, I think. They were throwing buses, blowing cars and people around, and punching each other through buildings, fer cryin out loud. Truly a live-action Action Comics moment.

Ghostbusters - Mr. Sta-Puft - remember that it's all Ray's fault. Commanded to "choose (Gozur's) next form," the Ghostbusters fight back by clearing their minds of any thought. Except one. Ray's childhood memory of roasting marshmallows at summer camp brings about New York's certain doom, in the form of a 100-foot Sta-Puft Marshmallow Man. Full of plump marshmallow goodness, Mr. Sta-Puft can also flatten New York if not stopped by the Ghostbusters. Fortunately they do, albeit leaving New York awash in liquid marshmallow.
Revisited - "You're right; no human being would stack books like this." Hands down my favorite line, which might have been adlibbed. Many of Bill Murray's lines were. Others I know prefer "Back off, man; I'm a scientist," but that doesn't quite capture the cool-headed sarcasm of Dr. Peter Venkman. For a long time I wished that busting ghosts was a real occupation so I could be the Bill Murray of the team. Okay, fine. I *still* wish it were a real job.

Casablanca - "Your winnings, sir." Most people name the final scene as the best of the whole movie. In fact, of MANY movies. I'm not knocking the scene. It just wasn't my favorite. Claude Rains owns this movie, not Bogie or Bergman. Observe: ordered to shut down Rick's Cafe Americaine, Captain Renault (Rains) considers his options, then shouts that he is "shocked - SHOCKED to learn that there is gambling going on here!" With perfect timing, an attendant sweeps by with the casual line "Your winnings, sir." "Thank you," mutters Renault as he pockets the cash. A self-described corrupt policeman, Renault is Rick's best friend whether he wants one or not. Without him, Rick would be rounded up at the end rather than "the usual suspects." And Rick calls this the *beginning* of a beautiful friendship?
Meanwhile, ever since this movie, I've found so many occasions for using "shocked - SHOCKED I am!" in mock outrage, I've lost count.

Titanic - the sinking - I have to agree with TV Guide's inclusion of this sequence in their own Great Moments list, but for slightly different reasons. Mainly, this was damned fine spectacle. James Cameron's goal here was to keep his audience right on the boat to the bitter end, and he does. While the shot of the Strauses clutching each other as the water rushed over them was very poignant, as was Guggenheim's rather dignified demise, the ship's snapping in two, and of course what followed, was mind-blowing. It was more than a little contrived to have David Warner's menacing bad guy stand right at the spot where the ship split, but we'll forgive that of Cameron. After the ship splits, it's a roller coaster ride for those clinging to the rails as the stern splashes down to its normal position. Then the water takes control again and pulls the stern back to an upright position. Those on the rails - Jack, Rose, one of the ship's bakers (good of Cameron to remember him), and others are now looking straight down into the black water. The stern starts dropping like a parachute ride at a carnival, albeit with more fatal results. Cameron took liberties with the effects of the stern's wake, which did not pull people down with it, according to the baker, but that's okay, too. He got just about everything else right.

Alien- the chestburter. The scene that everyone, even people who haven't seen the movie, remembers or knows about.
Revisited - Captain Lambert's helmet light illuminating IT just long enough to scare the bejeezus out of all of us.
That dead alien in the chamber - had it grown into the gun, or the other way around??

Aliens - "Get away from her, you BITCH!" Not even the fight Ripley has with the Queen, but that one moment as she clomps up inside the hydraulic body suit.
Revisited - Vasquez' and the lieutenant's death, Bishop being torn in half but STILL quite functional, Bishop grabbing Newt before explosive decompression would have sucked her into space.

Alien3- the POV shots of the alien running along walls and ceilings. Charles S. Dutton's defiant death, as well as Ripley's fall into the lava.

Alien: Resurrection- the basketbrawl game with Ripley. The freighter's crew whipping out their smuggled in weapons. An alien's crawl into an escape pod full of soldiers. Not that I enjoyed seeing soldiers die, but the image was chilling. The corporal's line, "Begging your pardon, sir, but FUCK YOU!!"

Superman - after Lois dies, his tears, head shake, then pure and uninhibited cry of rage and grief that echoes for miles around. Why just this one moment in the whole 2-hour+ film? Hey, I wish I knew why, too. Okay, then, to keep you happy, his first appearance to the good people of Metropolis.
Luther's first line: "It's a wonder that brain can generate enough power to keep his legs moving."
Supes' 4th-Wall-breaking smile to the audience as he passes over the earth in triumph.

The Wizard of Oz - the Wicked Witch of the West's first appearance. The best establishment of who the bad gal is to date. A kids' movie, you say? Who cares? I love that woman.
Revisited - every other scene with Ms. Hamilton

Star Wars: The Phantom Menace- Duel of the Jedi - Maul, Kenobi and Jinn finally go at it full throttle. The lightsaber duel the way every other duel in the trilogy should have been.

Star Wars - what else but the opening shot of the camera panning... and panning... and panning under the belly of a Star Destroyer. Where does the Empire get those wonderful toys?
The fight to escape from the detention block and garbage masher scene. Even Lucas' famously bad dialogue is in good form here.
The Millenium Falcon's jump to hyperspace
The "special edition:" the new panning shot of the Rebel Squadron on their way to the Death Star
"Listen to them, Artoo, they're dying! Curse my metal body, I wasn't fast enough!"

The Empire Strike Back - "I... am your father!" If I ever meet James Earl Jones in person, I promised myself I'd go into obnoxio-mode until he says that line for me.

Return of the Jedi - Luke's final volley of attacks after Vader threatens Leia with converting to the dark side. Even the music blew me away.
Vader tossing the Emperor down the reactor shaft (speaking of which, what's an open reactor shaft doing in the THRONE ROOM??)
I'll be pilloried for this, but I love that moment when the army of Ewoks pop up from all around the forest and begin the Battle of Endor.
The Battle of Endor in space - all those shots, I mean

Sunset Blvd - The fact that the entire movie was told in flashback - by a dead guy!

Soylent Green- the main ingredient - Seeing this film again proved how faulty my memory can be. For some reason I remembered Charlton Heston running through the streets like Jimmy Stewart at the end of It's a Wonderful Life, but shouting "Soylent Green is people!!" as opposed to "Merrrry Christmas, everyone!" At least my memory of Stewart's movie is relatively intact. But this doesn't diminish the reality, which was that Heston spat the line to his friend as "paramedics" hauled him away on a stretcher.

The Fly (50's) - The unveiling scene. This scene scared the crap out of me as a kid. The wife pulls off the sheet covering David Hedison's head, and a large fly head is revealed, including a clever POV shot through his multi-faceted eyes. It took me years before I could watch this movie again, and even now - well, that fly head ain't too cheesy. Multi-faceted eyes, twitching antennae and mouth, and lots of hair - a closeup of a real fly's head, in other words.
"Help me! Please help me!" Everyone remembers that line and that scene, as do I, but I like it for a different reason. For one thing, it was nice of the makers to age David Hedison's face, since his human head was stuck to a fly's body, and flies don't last so long. Also, Vincent Price and his costar in the scene needed numerous takes thanks to constant giggling.

John Carpenter's The Thing - Norris' heart attack and the blood test - for some reason Carpenter can't make a movie without officially making his name a part of the title. But we'll humor that little indulgence for now. Based more closely on the short story "Who Goes There?" than Howard Hawks' vegetarian epic "The Thing From Another World," every cell of the "Thing" is a separate entity. This is depicted best in two scenes: Norris, a crewmember, has a heart attack and is given CPR until a defibrillator is rolled up. Shock One: no effect. Shock Two: BIG effect. Norris' entire torso splits down the middle, revealing nothing less than a huge mouth complete with nasty teeth, which are used to bite the hands off the doctor. But it's not done yet. A slimy, tentacled, snarling THING with Norris' face shoots from the neo-mouth. In the chaos, Norris' head begins to stretch away from its own body, finally tearing itself loose and growing eight spidery legs from the top, topping it all off with eyeballs on stalks. It crawls away unseen while the flames of its other half die down, only to be spotted. A crewmember says what we're all thinking: "You've gotta be fucking kidding!"
All this gives MacReady (Kurt Russell) an idea: all of the Thing's parts can operate independently of each other, including its blood. He ties everyone else down, gets blood samples, then one by one, sticks a hot wire into the petri dishes. Nobody, including the audience, has any clue what will happen next. Sure that Childs, a defiant colleague, is the one, MacReady is surprised by the blood of a less-suspected crewmember suddenly screaming and leaping from the hot needle. The rest of the crew, still tied down, panic, and nobody blames them. There are few films more paranoid than this one, where nobody is an idiot and does everything they can to take this creature to hell with them. Do they? This is a Carpenter film, folks. Point out one that has a nice, clean ending.

The Invisible Man - gathering nuts in May - the Invisible Man special effects, in my opinion, hold up to this day. But then, I also thought that Charlton Heston was running through the streets while shouting about Soylent Green. Anyway, there are two standouts scenes for me: Rains' terrifying a local woman just by dancing along the road and singing "Here we go gathering nuts in May, on a cold and frosty morning! WHOOOO!" he adds with a click of his heels. But he does this while invisible, and only his clothing give a clue to his movements. I'd probably run, too.
And adding to a distinguished list of cinematic "reveals" is Rains' gleeful unwrapping in front of a group of stunned police to reveal - nothing. He's invisible, remember?

Vertigo - "Your hair... it's the wrong color." I use Vertigo as my standoff point to mock other people's misconceptions. As in, "Yeah, and Vertigo is a movie about a guy who's afraid of heights." Just barely that, in fact. What it's really about is Jimmy Stewart's cop losing his mind by obsessing about a woman who greatly resembles the woman he's lost in San Francisco Bay. The trouble is, he's not wrong about the resemblance. This is the actress who'd been hired to play somebody's wife, to fake her own death, then to go back to her own life. Too bad Stewart won't let her. He discovers her and stalks her, finally confronting her in person, then making her dress like his "dead" girlfriend. Finally she comes out of a dressing room wearing "her" dress and makeup and hairstyle. Exasperated, she asks if he's satisfied. He looks at her, and we think he might just be. Nope. "Your hair... It's the wrong color," he says slowly. I wanted to scream by this time, but my fellow film school students might not have comprehended my reasons. Obsessed people make my skin crawl, without exception. Brilliant as the film is (hell, it's Hitchcock, remember?), I haven't been able to watch it since.

Muppet Christmas Carol - "You are SUCH an idiot." The Great Gonzo and Rizzo the rat guide the audience through Dickens' Muppetized tale. At one point Rizzo balances precariously at the top of a gate before jumping off with a cry of "GOD SAVE MY BROKEN LITTLE BODY, AHHHHHH!" He gets up and shakes off all the snow. But then he remembers his jelly beans... and runs back through the gate's bars. Gonzo stares at him.
"What?" says Rizzo.
"You could fit through those bars?" says Gonzo.
"Yeah, why?"
"You are SUCH an idiot," says Gonzo before returning to the story.

War of the Worlds - biological warfare - the Americans throw their mightiest weapon at the Martian menace - an A bomb - and watch as the Martian war machines' force fields justify whatever their expense was. Not a scratch. So much for humanity. Or is it? Although the narrator gave more credit to the Almighty than H.G. Wells did, both agreed that the common cold virus - a weapon that man had nothing to do with - did in the extraterrestrial invaders. It didn't matter that the screenwriter opted to time their deaths immediately following the blasting of a church. Hopefully any other potential conquerors will blow off innoculations before stopping by, else our chances will be far less than slim.
Of course the bomb drop was repeated in such films as Independence Day, and, if memory serves, Mars Attacks, but don't quote me on the latter.

Weird Science - The Creation of Lisa - the Sci-Fi Channel plays this way too often (and Wishmaster, too, but that's a gripe for another time). Even worse, they play a thoroughly dubbed-over version that makes some of the more wittily vulgar lines incomprehensible. Be that as it may, the making of the Monster in Frankenstein is rivaled by how Wyatt and Gary make Lisa, their creation as channeled by Kelly LeBrock of "Don't hate me because I'm beautiful" fame. Mixing hacking, voodoo, and other improvised magic, the boys patch into a data center's (NASA's? The IRS? Who knows?) library, pulling the musical skills of Beethoven, the brain of Einstein, the party planning skills of David Lee Roth, and past issues of Playboy for the remaining *ahem* specs of their homemade monster. Or is she a monster? The whole room may have been destroyed by an electrical storm and indoor hurricane, but it's difficult to think of LeBrock's first appearance in tight briefs and a cut-off sweatshirt as monstrous. "So... what would you little maniacs like to do first?" she asks.
Revisited - Mad Max takes a wrong turn - the wildest high school party to date is interrupted by a motorcycle gang crashing through every window, and played by... yep, the bad guys from the Mad Max movies. The original actors. Invited - or rather, summoned - by Lisa, the leader taunts Gary and Wyatt into finally standing up for themselves. Not an unimpressive feat for two 98 pound nerd boys.

The Princess Bride - the Man in Black vs. Inigo Montoya - I'll be honest and say that I thought Wesley, aka the Man in Black, was a bit of a prick. But at least he was polite and sophisticated, as was Inigo, all throughout their sword duel of lightning quick reflexes. The whole scene sums up the soul of the true swordsman, who is an artist with a blade, not a killer. And that swordplay! Perhaps someday I'll find a scene with more impressive choreography, but until then, this is the one. But no bit of superior swordsmanship will beat the dialogue that goes with it, which I've actually used in context.
Inigo: "I admit you are better than I am!"
"Then why are you smiling?"
"Because I know something you don't."
"What's that?"
"*I* am not left-handed!" says Inigo with glee, who then switches to his right hand and begins getting the better of Wesley. Although not a master of swordplay, I do happen to be almost perfectly ambidextrous at ping pong, with my right hand slightly superior. And so I've found opportunity to repeat versions of that dialogue to my opponents.

The Matrix - Neo FINALLY freakin' becomes The One - personally, I don't see a reason for a trilogy, but it being a popular movie and all... fans clambering for more, mmmble mmmble...
Anyway, I admit it. I love powerhouse fantasy characters. The unbeatable good guys. C'mon, I grew up on comic books, so give me some leeway (and read my Mara Stories while you're at it!!). Um. So... when Neo finally gets his act together, rises up from the agents' hail of bullets, then takes out Agent Smith while barely even looking at him, well, I was pumped.