I love that movie. The verbal tennis match they play is another shining moment.
After Hours
This movie is about mens sexual fears and it all takes place in one night in Downtown Manhattan. Griffen Dune meets a series of women, each crazier than the previous. Very scary and funny.
One great bit is he is in a bar and he goes to the bathroom. We see him scaning the wall looking at the graffiti and he comes across the picture of a man with an errection and a shark clamped down on the errection. The great thing is that the sound effect of him peeing stops dead when he sees this.
Great movie
Tremmers
When the ‘graboid’ breaks into the survivalists basement and they shoot it about 200 times. When the thing finally dies, the survivalist says - 'Looks like ya broke into the wrong basement, didn’t cha.
Also, at one point Kevin Bacon (?) is pounding in a fence staple with some fencing pliers. He just wails away at it and keeps missing it. Must of swung about 25 times.
Loved it.
There are a lot of cute touches in the original Terminator that a lot of people might have missed. The movie is really a pretty dark comedy.
– The nightclub that Sarah Connor takes refuge in is called “Tech Noir” – “Black (or Dark) Technology”.
– Sarah’s answering machine message starts out “I’ll bet you didsn’t know you were talking to a machine — but machines need love, too.” Pretty ironic when you consider the context, especially when a machine (Arnold the Terminator) is listening to it.
– The Terminator is clearly capable of learning, and we get to see this. The first words spoken to him (after he says to the punks at the observatory “Your clothes. Give them to me.”) are “Fuck you, asshole!” Later, when he’s staying at a fleabag motel and starting to deteriorate (we know this because flies are gathering around him) the manager asks “Hey, you got a dead cat in there or something?” through the door. From the Terminator’s Point of View we see him scrolling through a list of possible responses. The last one – obviously the most recently added (and the one he chooses) – is “Fuck you, asshole!” In the T2 movie Arnold learns new responses from John Connor, but it’s really obvious and nowhere near as subtle as this.
In the John Carpenter version of The Thing there’s a barely-visible (and usually out-of-focus) poster about VD. It shows a drawing of a girl wearing a ribbon that says “I have VD”, and the caption reads “They’re not all labeled.” Considering that the plot is about identifying shape-shifting aliens among the crew, this is pretty relevant.
During the scene in Jurassic Park when the T-Rex is chasing the jeep, a wounded Ian Malcolm exclaims, “Faster! Must go faster!”
During the scene in Independence Day when Jeff Goldblum and Will Smith are trying to escape from the mother ship, with the door to the outside closing, Goldblum repeats the line. Probably his idea, but it was neat.
I believe E.T. was actually Elliot’s initials, too. I can’t find a cite (IMDB doesn’t have the last name) but I think it was Taylor.
(By the way, it’s C3PO, not 3CPO, but still neat)
First heard about this one on the DVD commentary:
In Crouching Tiger Hidden Dragon, when Jen is practicing caligraphy, while others are watching, she writes in tiny, controlled characters. But when she’s alone wtih Shu Lien, she writes in broad, flowing characters, symbolizing the repression in her normal life that she’s is freed from by Gianghu.(sp?)
I always liked in Fierce Creatures when John Cleese is talking to Jamie Lee Curtis and says “Yes Wanda, I mean Willa.”
Oh, good one! I had a similar experience, except I was watching it at home on video. My sisters thought I’d finally gone mad. 
Would just like to point out this is his trademark, and he also does it in Sleepy Hollow as the headless horseman.
-Mod
What version were you watching? Last time I checked, the Headless Horseman was played by Christopher Walken. And convincingly so.
Speaking of Sleepy Hollow, I really dug the scene where the Headless Horseman decapitates the fleeing night watchman at full gallop; the unfortunate man’s body takes a couple steps more before stumbling to the ground - like it took that long to realize he didn’t have a head any more because of the fear he was experiencing. Pretty cool, IMO.
Modian’s right, Olentzero. When the head’s on, it’s Walken. When he’s headless, (e.g. most of the fight scence) it’s Ray Park.
Another neat touch in there is Burton’s tradmark black and white stripes on Cristina Ricci’s dress at the end. Supposedly he’s put someone in black and white stripes in all or most of his movies (Beetlejuice, the Penguin, Jack Skellington, someone in Mars attacks, I forget who…)
I liked in Traffic where Benicio Del Toro and his partner are talking about bringing in Frankie Flowers in Spanish. The whole conversation is in Spanish until Benicio’s partner exclaims, “Frankie Flowers” midsentence. It was humorous and underlined that Frankie would play a major portion in the movie.
Then latter Benicio and his partner capture Frankie by picking him up in a gay bar. General Salazar asks how they were able to capture Frankie so easily. 
Whaddaya know. IMDB knows everything! I cede the point.
Much like the unfortunate night watchman.
Though I hated the movie as a whole, I thought that the vampire’s independently moving shadow in Francis Ford Coppola’s Dracula was a nice touch.
Cant believe no one mentioned this yet…
In The Fifth Element, there is a scene where Milla Jojovich is telling a story about how she made sure that the stones (objects of desire) didn’t fall into the hands of Zorg (bad guy). As she is telling the story, we cut to another room where Zorg is making realizations in-line with where Milla is with her story. So, you don’t hear the entire story, because you see the results of the parts you miss. Brilliant. At the end of the story, she lets out this cackle…great stuff.
Another one. Almost cheesy, but Sean Connery can carry off the cheesiest lines in the world because HE’S JAMES BOND AND HE DOESN’T CARE, OKAY?
I think it’s in The Hunt for Red October. Obviously they wanted the realism of having the Russians speak Russian, at least at first, but decided it would slow the whole movie down a good deal if one side used subtitles all the time. Whatever the motive, the way they got around it was nice: the camera moves in on Connery as the Russian captain, talking with one of his officers, in Russian. It moves right up to his mouth until he says the word “Armageddon”, and then slowly pulls back: from that moment on, everything’s in English.
The details may be sketchy, at best. I may not even have the right film, foreign language, or star. But it happened somewhere, some time, and although slightly obvious it was pretty classy for a blockbuster.
Actually, it’s not Captain Ramius (Connery’s character) who’s speaking when they do the Russian-to-English change – which I agree was cool – but the political officer, Putin.
Wanna know something even more neaterest?
OK, the cops that are in the bathroom of Orange’s fantasy story are the same ones that bust in at the end of the movie while Orange is lying bleeding on the ramp. They’re never shown, but the voices are the same. One of the cops even gives the same line, telling Keitel to “drop the gun!” that that cop said while telling his story in the bathroom.
Even neater, speaking inside the flashback is entirely appropriate, because it isn’t really a flashback; it didn’t really happen. What we’re being shown is how Orange visualizes the story, so the cops he would put into his visualization would be the cops he’s most familiar with–those who provide backup for his undercover police work.
Also, the voice over narration being taken up within the scene had been done a year before in Goodfellas; it was just one of a bunch of touches Tarantino borrowed from other movies for Reservoir Dogs (note: I am not criticizing him for borrowing from other movies; everyone does it, and seldom as well as Tarantino does in Dogs).