Movies. When the tape breaks, the restless duo start playing a series of car games, from the reckless (driving with the headlights off) to the shamelessly nostalgic (a ’50s and ’60s TV-heavy game of “Name That Tune”). Horror buffs will have to wait until next year, when A24 finally releases the film, to feel it burrow under their skin—a process that begins in the opening minutes, with a deeply unnerving dream sequence. Instead, the opening traffics in different, more relatable anxieties: social misery, loneliness, cruel mockery, and an empathetic fear for Carrie herself, who seems so unequipped to navigate this nasty world. Running almost two minutes, it’s both tightly controlled and very abstract: The audience has no idea who this young woman might be (in fact, she’ll be dead before the movie hits the three-minute mark) or what she might be fleeing from on this unremarkable suburban street at twilight. When someone jumps from a skyscraper onto a truck, Bowden is sent to investigate. When the cable finally snaps, slicing through all aboard—save for one little girl, spared by her height—there’s a pregnant, blackly comic pause as everyone slowly realizes what’s happened. “The Devil’s Brigade” (1968) The classic World War II film starring William Holden, Cliff Robertson, and a slew of recognizable actors tells the true story of a special fighting unit of Canadian Army and U.S. Army soldiers whose initial hate for each other turns to respect and camaraderie that helps them succeed in an impossible mission. Club is counting down the scariest, creepiest, and most nerve-shredding opening scenes in horror-movie history. View production, box office, & company info. But then the eye blinks and changes color, letting you know immediately something’s amiss. A pot of boiling water creates an almost unnoticeable transition from day to night; the camera follows two conversations (one by phone, one by computer) through the cramped quarters, efficiently establishing geography; and then a great use of “There’s someone behind you” leads into… nothing. Tomasz Wasilewski’s Glupcy, Chris Messina to Star in HBO Max Pilot ‘Verbatim’. And the best fright flick of the new millennium is half over before anything remotely frightening occurs. He joins forces with an unconventional priest, schooled in the rites of exorcism, to combat the possessions that are terrorizing their city. That fact is a Greek tragedy. Following the film's premiere, a string of other films focusing on Satan worshippers and black magic were produced, including The Brotherhood of Satan, Mark of the Devil, Black Noon, and The Blood on Satan's Claw. That’s how it starts: with an overhead shot of girls in gym class playing volleyball, the camera craning down to find Carrie (Sissy Spacek) standing nervously in the back row, about to screw up a crucial play. Countless stylized Italian horror and giallo movies followed in Black Sunday’s creaking footsteps, but the first time is still one of the best. The opening scene of It Follows—even just its opening shot—immediately earned David Robert Mitchell’s sophomore feature a place in the annals of formalist horror. (2010). The trash-strewn streets gradually fill with the shambling undead, revealing the full horrifying scope of the plague and making Bowman’s nightmares come to life. The long opening follows an increasingly nervous babysitter as she keeps getting phone calls from someone who asks, softly and ominously, “Have you checked the children?” From Carol Kane’s escalating anxiety as a woman alone, to the blood-chilling kicker from the police—“The calls are coming from inside the house!”—When A Stranger Calls begins with a sequence that’s a suspense classic in and of itself, touching on our common fear of being stalked where we live. Sexually repressed nuns let their habits fly. The scene culminates in a bloody, brutal hanging death, a clear signal that this particular fairy tale is way more Brothers Grimm than Disney. But that just makes it all the more unnerving to watch Henry methodically alter his appearance: trimming his shaggy hair, shaving his beard, and even disguising the color of his eyes via contact lenses. 6 OMITTED 6 7 INT. With Chris Messina, Caroline Dhavernas, Bokeem Woodbine, Logan Marshall-Green. Meanwhile, five strangers are trapped in an elevator in the building where the jumper committed suicide. Much like the opening scene itself. [Katie Rife], The late Wes Craven was a master of reinvention, and the opening of 1996’s Scream heralded yet another new chapter in his career. [Alex McLevy], The nerve-jangling first 20 minutes of When A Stranger Calls began life as a 1977 short called “The Sitter,” by writer-director Fred Walton and co-writer-producer Steve Feke, who’d go on to make the feature-length version. Their longer take on the story is sluggish in its final hour (until the excruciatingly tense finale, that is), but act one has been honed into a devastatingly effective weapon. There’s no doubt that something awful has happened, no big reveal in store. With Halloween right around the corner, and Horrors Weeks in full swing, The A.V. It's a How-To that should be taught in screenwriting courses all over the country but probably will never even get a passing mention. Not only does Night Of The Living Dead’s initial murder and subsequent frantic chase launch an enduring nightmare-fuel franchise, it confirms even the most fleeting and ludicrous thought about the intentions of random strangers in deserted locations. Them, a film in which probably 90 percent of the dialogue happens in the first 10 minutes, uses its opening sequence to demonstrate the power of staying in the moment with a character, rather than wandering ahead. Day Of The Dead may not have been the gore-soaked Gone With The Wind that its creator intended, but for a few minutes at least, Romero staged his own ghoul-infested version of the Battle Of Atlanta. Instead, it’s the sound design and the deliberate, persistent movement of the camera that creates the sense of an immediate threat. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie … CLACKER #2 Oh, please. The much-imitated opening, in which a 17th-century witch (Barbara Steele) curses her executioners, still disturbs. The scene where Damian visits his attic and starts ranting at the statue of Jesus on the cross, is like an angry adolescent having a … The film begins with a person committing suicide by jumping from a building narrated by Ramirez (Jacob Vargas) who mentions that his mother tells him stories of the Devil roaming the earth, and it always begins with a suicide. As the blood begins to trickle, his body separates into cubes of its own, slowly crumbling to the floor like a diced potato. The films range in release date from 1960 to next year, when a festival favorite of ours will finally hit theaters. Five strangers' day begins with an elevator ride in a Philadelphia office tower. 8 of 8 people found this review helpful. 23 on Bravo's The 100 Scariest Movie Moments. And her death, when it inevitably did arrive, was brutal. The Seventh Seal (Swedish: Det sjunde inseglet) is a 1957 Swedish historical fantasy film written and directed by Ingmar Bergman.Set in Sweden during the Black Death, it tells of the journey of a medieval knight (Max von Sydow) and a game of chess he plays with the personification of Death (Bengt Ekerot), who has come to take his life.Bergman developed the film from his own play Wood Painting. From the stars of "The Good Place" to a pair of "Pretty Little Liars," check out our gallery of celebrity besties. Only when he’s all but unrecognizable does he casually walk downstairs and past the mutilated remains of several bodies—identified as his own wife and children by pictures on the wall, so that we know he’s not some random home invader. Her delayed first period sends her into a panic, to which her classmates respond by pelting her with tampons, laughing and chanting “plug it up!” as she pleads for help. Menu. The biggest star in the film, then in the midst of a career renaissance, was not going to survive through the opening credits. [Alex McLevy], “They’re coming to get you, Barbra!” For nearly 50 years now, that line has cast a pall over joking threats of potential mayhem, evoking a disturbing possibility: Maybe, just maybe, they really are coming to get you. On paper, the opening of The Conjuring is pure boilerplate (a creepy doll that seems to move when people aren’t around) bracketed with excess information (paranormal investigators listen to the story of the creepy doll and explain what they think is behind it). It went by fast though. [Noel Murray], A critical and commercial failure in its initial release, The Hitcher has earned a well-deserved cult following. Detective Bowden (Chris Messina) is called to the scene to aid in the investigation. A group of old college friends reunite for a trip to a Swedish forest, but encounter a menacing presence there stalking them. In the indelible opening stretch, a young man (C. Thomas Howell) picks up an enigmatic hitchhiker (Rutger Hauer) on a rainy night in the middle of nowhere. But in its first minutes, the film is nothing but a master class in suspense, staged by Verbinski as a series of back-and-forth shots between empty but menacing rooms and Amber Tamblyn’s increasingly terrified face. We don’t yet know how the creature works, and that lack of knowledge is the scene’s trump card. [Jesse Hassenger], Gruesome by the standards of its time, Black Sunday was the movie that put Italian horror on the map: a lurid Gothic tale of cobweb-filled crypts, fog-shrouded cemeteries, and devil-worshipping Moldavian vampire-sorcerers. From this first scene, It Follows teaches its audience to fear the frame. Tensions run high among those trapped, so Lustig calls the police and Detective Bowden assumes the case. How very meta. The scenes themselves range in length, from about a minute to a good 15 or 20, with the only criteria being that they must constitute the first scene or passage, excepting a credits sequence. The actor vanishing silently into a darkened room ends up being far more chilling than any jump scare, and the whole sequence sets up a film that marks McCarthy as one of the more promising young horror directors working today. The violent, sexual, and religious content of director Ken Russell’s 1971 film The Devils has long made it one of the most controversial horror movies of them all. It’s followed by a gory sequence of their newly halved bodies slip-sliding apart, and finally, genuine psychological terror, as the little girl realizes she’s now all alone, in the middle of the ocean, atop a floating corpse-pile. Claudio Carvalho, Rio de Janeiro, Brazil, Pretty good movie all around. [Alex McLevy], George Romero originally planned to out-do his 1968 cult hit Night Of The Living Dead and its critically acclaimed 1978 sequel Dawn Of The Dead with a grander-scaled third chapter. When it comes to the spooky stuff, sometimes it’s good to get right down to hair-raising business. New York police officer Ralph Sarchie investigates a series of crimes. Director Joseph Ruben, working from a screenplay by Donald E. Westlake, doesn’t try to be cute, showing Henry with bloodstained hands and arms the very first time we see him, standing in front of his bathroom mirror. The devil in The Final Conflict is the Lucifer Morningstar of the Old Testament, who was thrown out of Heaven because of his pride and jealously. The Italian director was more into gross-out gore, and there’s plenty of that in the opening scene of The Beyond. This is the full shootout scene from the 'The Devil's Rejects' (2005), directed by Rob Zombie. The horror then goes from micro to macro as our traumatized heroine steps out into blinding daylight to discover that her entire neighborhood—and by extension, the entire planet—has gone straight to hell. Mise-en-scene in the opening scene of 'The Devil's Backbone' The location seems to be very isolated and desserted with only sand and dead crops surrounding this old orphanage. [A.A. Dowd], The Pact opens on an unblinking eye, like an inverted homage to the rapidly blinking eye that kicks off Michael Powell’s Peeping Tom. [Ignatiy Vishnevetsky], The opening of Dario Argento’s Suspiria perfectly sets the tone for the film, establishing a vividly stylized nightmare world that’s equal parts beautiful and terrifying. But it’s clear from the very first scene of this seminal blockbuster that Spielberg was already a master of suggestion: He shows us nothing but the mighty beast’s ominous point of view, but we see everything in our minds—the bloody work being made of Chrissie’s lower half, as she’s thrashed around like a fish on a line, gurgling “It hurts” to no one who can hear her. Get a sneak peek of the new version of this page. This scene contains only a single supernatural moment, when Carrie’s stress pops an overhead lightbulb. Much has been made of the problems Steven Spielberg suffered with his mechanical shark, whose malfunctions supposedly forced the director to rely more on implication than special effects. One of the best directed scenes ever! When Suzy pulls up to her new home, a German ballet school, in the pouring rain, we switch focus to a frantic young woman fleeing the school on foot. That’s not a great advertising strategy, and neither is the sight of watching the mob beat its victim—whether he’s innocent is up for debate—with iron chains, nail him to a stone wall, and throw quicklime on him so he starts dissolving before our eyes into a fizzy goop. Meanwhile, five strangers are trapped in an elevator in the building where the jumper committed suicide. 0,92 sec 2.34 But we think of you every time we dip our toes in a dark body of water and decide that maybe dry land is the better bet. Every one of these opening set pieces is a gory delight, but the best of the bunch is probably the multi-car pileup of the first sequel. But, what happens next is anything but ordinary. Attempts at imitating the first-person with a camera are often awkward, but Halloween’s unbroken handheld shot is amazingly fluid. Testing each, he finds they all lead to other cube-shaped rooms, all bathed in different colors. A young widower returns to his hometown to search for answers to his wife's murder, which may be linked to the ghost of a deceased ventriloquist. Great horror can trick its audience into not being able to look away. It’s one of the most convincing expressions of terror ever put on film (the actress, Susan Backlinie, deserves a spot in the scream-queen hall of fame for her three minutes of screen time), and that monstrous fear ripples through all of Jaws, staying on our minds even (or perhaps especially) when the shark is “safely” out of sight. Snyder’s career-launching remake of Dawn Of The Dead begins on an idyll of suburban calm that’s nightmarishly shattered when a zombified little girl invades the home of an unsuspecting ER nurse (Sarah Polley). [Jesse Hassenger], Without a word of dialogue, Vincenzo Natali’s Cube establishes the entire, diabolical game of its conceit in just under three minutes. [A.A. Dowd]. A deaf and mute writer who retreated into the woods to live a solitary life must fight for her life in silence when a masked killer appears at her window. A group of people are trapped in an elevator and the Devil is mysteriously amongst them. She takes refuge in a friend’s similarly stylish apartment, where she’s besieged by an unknown supernatural assailant as Goblin’s music whips itself into a pagan frenzy in the background. Devil A group of people are trapped in an elevator and the Devil is mysteriously amongst them. When Wan turns to the humans menaced by this doll, he uses his lighting scheme to conceal faces, corners of rooms, and the doll itself. In a way, it is—or, rather, it’s the finale of an otherwise unseen prequel that would introduce Henry Morrison (Terry O’Quinn), a man whose expectations regarding the ideal family unit are both unrealistically high and horrifically unforgiving. In Philadelphia, Detective Bowden is still grieving for his wife and son, killed in a hit-and-run five years ago. Like the other characters (who will have to do a much better job of navigating), the audience may not understand the why of what’s going on—but already has everything it needs to know. I can’t wear cropped pants. Besides that, the entire premise is laid out in a few short sentences, meaning the sequence—and entire film that follows—needs no clarification, just an ongoing white-knuckle wait for the other shoe to drop. © Lions Gate Films Serving as a prologue to the film’s main plot, the scene rewinds to 1927 and the murder of a suspected warlock in the basement of the Seven Doors Hotel, so named because it contains one of the seven portals to hell. Even Wan’s exposition has a visceral tension. [Katie Rife], The first thing that hits you in the opening moments of 28 Weeks Later is the oppressive silence. Rated PG-13 for violence and disturbing images, thematic material and some language including sexual references, Dana DeLorenzo to Reprise Role as Kelly Maxwell in Evil Dead: The Game, Top 100 Most Anticipated Foreign Films of 2021: #92. Pretty creepy. Tensions run high among those trapped, so Lustig calls the police and Detective Bowden assumes the case. The source of dread isn’t the movie’s invisible, shape-shifting monster—a protean metaphor if there ever was one—but the most basic properties of movie style. Time is running out for the occupants of the elevator, as Bowden realizes he has to get them out quickly. The films range in quality as well, because even a terrible horror movie can start exceptionally strong. A family living on a farm finds mysterious crop circles in their fields which suggests something more frightening to come. The opening credits run with different speeds in the two versions. It begins with Dr. Sarah Bowman (Lori Cardille) imagining herself staring at a pretty picture in an otherwise featureless room, before a dozen writhing zombie arms burst through the wall. Devil was released on September 17, 2010. +10,25 sec 2.00 The female corpse is dragged through the woods longer. Shooting the scene over the course of five days, Craven reportedly kept Barrymore, a devoted vegetarian, upset throughout filming by telling her stories of animal cruelty, a sadistic little touch that fits nicely with his ethos. The book that Miranda asks Andy to retrieve for her twin daughters is Harry Potter and the Deathly Hallows. A man in a prisoner’s jumpsuit awakens, confused, inside a massive, cube-shaped room with four hatches. And, much like Robert Carlyle’s panicked breaths on his escape boat, the sequence leaves viewers breathless and exhilarated, and with the bleak assurance that death is coming for everyone. The orphanage seems to be hidden away from civilisation as there is nothing surrounding it e.g no shops, houses or many people. A series of events tests the beliefs of a small isolated countryside village. A father and son, both coroners, are pulled into a complex mystery while attempting to identify the body of a young woman, who was apparently harboring dark secrets. No one pays much mind. Was not expecting who the "devil" was. He starts the conversation on a black screen, before cutting into an extreme close-up of a creepy doll’s eye, which he pulls back from slowly. It’s repulsive, excessive, and oddly titillating, just like the rest the film. When the taunts begin, the hook has already been set—with a last scare that still surprises. The communication radio in the elevator is broken but the guards, Lustig and Ramirez, observe the individuals via CCTV as events unfold. Especially the opening scenes and the scenes inside the elevator shaft. 5,56 sec. Then the doc wakes up on a helicopter heading to an abandoned Florida city, on a search for human survivors of the zombie apocalypse. But its opening onslaught of terror stands alone, promising a better movie (and career) than the one that followed. Kevin P. Sullivan 10/21/2014 In a world that can be cruel, random and unjust, bed is one of the few objective goods. To watch the first two and a half minutes of THE DEVIL… Carpenter’s stylized staging of the sequence treats the gaze of the young Michael Myers as elemental; slipping from artful expressionism into lurid voyeurism, the whole unshakeable sequence suggests the perspective of a killer whose psyche could be the dark side of film itself. When director Brian De Palma cuts to slow-motion locker-room voyeurism, the camera eventually finds Carrie again, her shower reverie broken as a close-up reveals, to her horror, blood making its way down her legs. ANDY runs in. The success lies in the timing of the reveals, as well as the unexpected incorporation of the mom, given that parents are usually the ones to show up and scream after the fact. Director-cinematographer Mario Bava’s style is exclusively visual (the acting here is nothing to write home about), hearkening back to expressionist silent film and 1930s Universal horror; his lush, textured black-and-white images relish and even fetishize the torture and torchlight. The rest of Ghost Ship would be hard-pressed to live up to that, even with a script that wasn’t tedious, predictable claptrap. Just because you’re paranoid… [Mike D’Angelo], John Carpenter’s genre-defining Halloween was not to the first to use a stalking “creep’s eye” point of view for its opening scene (Bob Clark’s Black Christmas did something similar four years earlier), but it remains the standard. [Noel Murray], It’s hard to remember a time when Zack Snyder was an exciting new name in genre filmmaking. Faust is a tragic play in two parts by Johann Wolfgang von Goethe, usually known in English as Faust, Part One and Faust, Part Two.Although rarely staged in its entirety, it is the play with the largest audience numbers on German-language stages. Time is running out for the occupants of the elevator, as Bowden realizes he has to get them out quickly. Without being able to contact the individuals, he tries to work out who they are, but he can only account for four of them. All she wanted was a relaxing skinny dip on a nice summer night, and maybe to get laid by the drunk hippy she makes eyes with across the beach bonfire. Directed by John Erick Dowdle. But for those few fleeting minutes, it’s a classic. Use the HTML below. In this case, it’s the VHS tape possessed by an evil spirit, providing a bevy of allegories and ideas for discussion. [Alex McLevy], Gore Verbinksi’s American remake of the J-horror phenomenon is a textbook case of how to do great horror: It takes an old trope (two teenagers telling the story of a mythical boogeyman, only to have it become horrifyingly real) and updates it with a modern conceit. 2.14 Again, the woman is dragged a few inches further. [Mike D’Angelo], The opening moments of Steve Beck’s supernatural sort-of-thriller Ghost Ship are a microcosm of everything great about horror movies. Meanwhile, a now-bloody booby trap swings back into view, folding into the ceiling to await its next victim. As cruise ship passengers dance romantically beneath the stars, tension builds as the camera tracks a razor-thin wire, slowly stretching taut around them after being set in motion by a mystery person’s hand. Movie all around the beliefs of a small isolated countryside village exciting name. Events unfold a visceral tension a sneak peek of the trapped people.! 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