Scariest Movie Scenes

Tina's death in A Nightmare on Elm Street

In honour of Halloween: The 13 movie scenes that, at one time or another, scared the living crap out of me.

A Nightmare on Elm Street (1984)
The premise: A long-dead serial murderer haunts the dreams of the children whose parents were members of the lynch mob that hunted him down.
The scene: Rod (Jsu Garcia) witnesses his girlfriend Tina (Amanda Wyss) meet a grisly end as she's dragged across the ceiling of her bedroom by an unseen force.

Lost Highway (1997)
The premise: A saxophonist is framed for the murder of his wife and sent to prison where he transforms into a young mechanic and starts his life afresh.
The scene: The Mystery Man (Robert Blake) confronts Fred (Bill Pullman) at a party and convinces him to phone his own house. When Fred obliges he hears the voice of the Mystery Man pick up his home phone, even though he's standing right in front of him.

Nosferatu (1922)
The premise: This silent classic chronicles the strange life of the vampire Count Orlok.
The scene: In a chilling example of German Expressionism at its finest, Count Orlok makes his way slowly up the staircase -- while the audience sees only his distorted shadow on the wall.

Silence of the Lambs (1991)
The premise: An FBI rookie must work with the infamous Hannibal Lecter in order to catch another killer on the loose.
The scene: Clarice (Jodie Foster) confronts Jame Gumb (Ted Levine) in his basement -- only to find herself abandoned in pitch black darkness as Jame follows her around with night-vision goggles.

Scream (1996)
The premise: A group of teenagers discuss the "rules" of horror films as students at their high school are systematically killed off one-by-one by a masked killer known as Ghostface.
The scene: The chilling opening sequence where Drew Barrymore receives harassing phone calls from an unknown assailant who quizzes her about her favourite horror films -- before brutally murdering her.

Halloween (1978)
The premise: A masked psychopath breaks out of an institution and stalks a teenage girl from his small hometown.
The scene: After emerging victorious from a faceoff with Michael Myers (Tony Moran), Laurie (Jamie Lee Curtis) breathes a sigh of relief -- while the seemingly dead Michael slowly sits up behind Laurie's shoulder.

The Exorcist (1973)
The premise: When a twelve-year-old girl is possessed by the devil, her mother enlists the help of two priests.
The scene: After stabbing herself in the crotch with a crucifix, Regan (Linda Blair) faces the audience by enabling her head to do a 360-degree spin.

The Exorcist III

The Exorcist III (1990)
The premise: A police officer respectfully acknowledges the anniversary of a priests death while, at the same time, trying to track down a vicious serial killer.
The scene: A nurse in a hospital checks a couple of rooms during a night shift when, in a genuine jump-out-of-your-skin moment, she's followed out of a room by a white-shrouded intruder.

The Thing (1982)
The premise: Scientists in the Antarctic discover a shape-shifting alien that takes on the appearance of its victims.
The scene: The alien, in human form, fakes a heart attack and, while the scientists scramble to save who they assume is their comrade, they are confronted with "the thing" itself in a shocking, terrifying, pre-CGI sequence.

The Shining (1980)
The premise: A family agrees to watch over a hotel that is closed for the winter season when an unseen force influences the father, pushing him to the edge of insanity.
The scene: While most would cite the twins in the hallway as the scariest sequence, there's also the simplistic slow zoom-in on Jack Nicholson's face looking out the hotel window as he slowly dissolves into madness.

Psycho (1960)
The premise: A young woman on the run stays at the isolated Bates Motel and meets the mother-fearing, socially inept owner.
The scene: No, not the shower sequence although that's terrifying in its own right. Lila Crane (Vera Miles) searches the Bates house for her missing sister (Janet Leigh), only to be confronted by the corpse of Mrs. Bates -- right before Norman (Anthony Perkins) bursts in to the room wearing a woman's wig and dress.

Jurassic Park (1993)
The premise: An ambitious millionaire creates a dinosaur theme park and, during a preview tour, a massive power outtage enables the prehistoric animals to rule the island.
The scene: A thunderstorm. A glass of water, trembling with each footstep. A T-Rex bites through an electrical fence and proceeds to attack the tourist cars.

Whatever Happened to Baby Jane? (1962)
The premise: A former child star jealously guards her more-famous older sister in a rundown mansion.
The scene: When wheelchair-bound Blanche (Joan Crawford) crawls her way to the telephone to make an emergency call, Jane (Bette Davis) discovers her calling for help and violently kicks her around the room.

Revisiting the Classics: Alfred Hitchcock's Psycho

Anthony Perkins as Norman Bates

"We all go a little mad sometimes." 

On Thursday night my friend suggested we check out a screening of Alfred Hitchcock's 1960 horror classic, Psycho, which was playing at a local theatre.

It had been awhile since I'd last visited the Bates Motel and its man-with-severe-mother-issues owner, Norman.

I actually can't recall the last time I'd seen Psycho which makes me think it has been at least five years, if not longer. So, watching it in glorious black and white on the big screen made it feel as though I were watching it for the first time. I'd forgotten about a couple of little twists and the fact that the script (based on the novel by Robert Bloch) was chock-full of great dialogue and slow, engaging character revelations. It truly is a masterpiece of suspense and thrills. And, regardless of how many times you've seen the film, its final twist and closing shot (see photo above) is still as mesmerizing and shocking as it undoubtedly was back in 1960.

A complex psychological thriller, Psycho is celebrated in film circles as one of Hitchcock's finest -- if not his greatest -- achievements (and whether or not you think that Vertigo is technically the better film is a debate worthy of a whole separate blog post). At the age of 61, Hitchcock cobbled together his now-classic shocker on a tiny budget in a matter of weeks. With Hitchcock's knack for building tension and influential stylistic flare, Psycho is as unsettling in its premise as it is a technical marvel -- what with all those unique camera angles, intimate close-ups of his cast and that famous image of Mama Bates' skull superimposed over the crazed face of Norman as the film closes.

But one of the true revelations in Psycho is Anthony Perkins in the lead role. I'd never fully appreciated his performance until this recent viewing. He commanded the screen with a charismatically awkward performance that, on the surface, made him appear as likeable as a young boy eager to please his friends or parents. "I think I must have one of those faces you can't help believing," he tells Marion Crane (Janet Leigh) early on in the film. And you, as the audience, totally fall for it too, just like Marion. Even though you know Norman has the capability to kill, he lulls you into feeling sympathy for him -- you may even catch yourself wishing he'll get the help he so obviously needs.

The role of Norman Bates could have easily been nothing more than a stock horror character. A villain without personality. Someone lurking in the shadows who ultimately leaves no lasting impression once the credits roll. But where Perkins excels is in his ability to make you realize that Norman Bates could be anyone. Literally. He could be the man sitting next to you on the subway, or the woman walking her dog down the street. He's not some Freddy Krueger-type fantasy-villain who would stick out like a sore thumb if you saw him in a crowd of people from across the street. Perkins, with his average-joe features and shy nature, totally inhabits the character of Norman Bates.

It's an all-around fantastic performance in an already perfect psychological thriller.

Movie Review: Frankenweenie

Frankenweenie (2012)
Directed by: Tim Burton
Starring: Martin Short, Catherine O'Hara, Winona Ryder, Martin Landau and Charlie Tahan

I reviewed this film for Next Projection.

Tim Burton's latest animated oddity heralds a return to form for the director. Although he distracted himself with big-budget remakes over the years -- many of which failed to resonate with viewers -- Frankenweenie is a welcome return to the Burton of old.

Expanding on a concept conceived back in 1984, Frankenweenie has gone from a 30-minute project to a feature-length film lensed in glorious black and white -- an homage to the horror influences of his childhood.

Victor Frankenstein (Charlie Tahan) is devastated when his beloved dog, Sparky, is killed in a tragic road accident. However, when a grieving Victor learns about the effects of electricity while in his science class he concocts a plan to bring his dog back to life. But, in order to avoid detection, he must outsmart his parents (Catherine O'Hara and Martin Short), science teacher Mr. Rzykruski (Martin Landau) and his nosy classmates. Although Victor's experiment initially proves to be a success, he is ultimately forced to confront the consequences of his actions when other people get their hands on the science behind bringing the dead back to life.

Influenced by the aesthetics and techniques used in the German Expressionist films that were prevalent in the 1920s, Frankenweenie also contains a memorable cast of eccentric outsiders -- all familiar features in Burton's oeuvre.

The craftsmanship is a wonder to behold. Frankenweenie is arguably Burton's most visually stunning work in years. Making the bold decision to release a family feature in black and white, the characters and their little town of New Holland are so vivid they appear to pop off the screen. To understand the painstaking process involved in creating a stop-motion feature, is to realize that Frankenweenie is a genuine labour of love for its director.

While the plot fondly borrows from films and literature of the past, it's the characters that keeps the action moving forward. The premise may not be original but the memorable cast of characters is all Burton's own creation. His signature long-legged, saucer-eyed characters tend to resemble grotesque marionettes but their personalities carry a lot of heart.

Despite all the impressively eerie visuals and classic film references, Frankenweenie is ultimately just a touching story about a young boy and his dog; the rare family feature that will appeal to both children and adults alike.

Burton's affection for his now-28-year-old story is undeniable as Frankenweenie proves to be the director's most successful outing in years.

FINAL GRADE: B+

Movie Review: The Master

The Master (2012)
Directed by: Paul Thomas Anderson
Starring: Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams

I reviewed this film for The Hollywood News.

Paul Thomas Anderson’s ambitious follow-up to his 2007 masterpiece There Will Be Blood has received a lot of ink touting it as the origin tale of Scientology. And, while aspects of The Cause (the cult at the heart of Anderson’s narrative) often mirrors certain methods promoted by Scientology, to simply categorize The Master as a loosely-based look at L. Ron Hubbard is to do it a great disservice.

The idea of a Scientology-like “religion” is used only as a narrative framing device — the film itself poses much more thought-provoking questions. Why are we susceptible to mind control and manipulation? What does it ultimately say about the human condition? Just how fragile are we?

Discharged US Navy officer and alcoholic Freddie Quell (Joaquin Phoenix) falls under the influence of the charismatic Lancaster Dodd (Philip Seymour Hoffman), taking to his cult group The Cause in a desperate attempt to tame his animalistic nature and put an end to his own rootlessness.

However, The Master is an intricate character study, first and foremost. It chronicles the lives of two very different men carrying their own unique emotional baggage. When the two collide and, for a brief time, appear to understand one another, it becomes apparent that their only real difference is how they each choose to handle their inner torment. Where Dodd went on to become The Master to the followers of The Cause, Freddie wallowed in his misery, constantly conjuring images of his violent past and the love of his life that he let slip away.

As Freddie Quell, Phoenix gives what is arguably the finest performance of his career to date. From his physical transformation to his fierce intensity, his full commitment to the role is palpable. His Freddie is a lost soul so damaged that he seems beyond repair. You don’t doubt that his admiration for Lancaster Dodd is genuine, although he appears to simultaneously love and loathe the only man who has ever given him the time of day. He’s teetering on the edge of insanity and Phoenix’s shocking performance is absolutely mesmerizing to watch.

With Lancaster Dodd, Hoffman is equally compelling as he goes from a charismatic father figure to launching a tirade of abuse against anyone who dares question his theories on life. Dodd thrives on the admiration of others and, beneath his jovial exterior, masks an ego that constantly needs nourishing.

In these early stages of the awards season, Phoenix and Hoffman are two clear frontrunners.

To enhance an already vivid experience, Anderson used 70 mm cinematography from director of photography, Mihai Malaimare Jr. The end result is a series of gloriously lensed, razor-sharp images that pop off the screen and lend the performances — specifically Phoenix’s haunted Freddie — an added layer of realism. You can see every line on his furrowed brow.

The Master is one of those films that will undoubtedly benefit from multiple viewings. While it may appear that the script only scratches the surface of its deeper questions and philosophies, Anderson’s latest entry does not judge his characters or their actions and does what any great film should — generate discussion, not only about film but life in general.

FINAL GRADE: A-

"We travel just to travel."
~ The Motorcycle Diaries (2004)

I'll be away on vacation for two weeks. Not only will I be missing the Toronto International Film Festival for the first time in seven years, but I'll be super-behind on all the latest movie releases ...so I'll be looking forward to catching up on everyone's blogs when I get back! :)

-Laura

Classic Film Review: The Lady Eve

The Lady Eve (1941)
Directed by: Preston Sturges
Starring: Barbara Stanwyck and Henry Fonda

We all know the story about Eve and the forbidden fruit -- and right from the opening credits, which includes an animated snake, The Lady Eve puts a comedic spin on the biblical tale.

Jean and "Colonel" Harrington, a father-daughter card shark team (Barbara Stanwyck and Charles Coburn), set their sights on Charles Pike (Henry Fonda) the socially awkward millionaire of a brewery fortune who recently returned from a year-long snake hunting trip in the Amazon (there's that snake imagery again). Jean and the Colonel crave wealth and fame. As the Colonel says to his daughter: "Let us be crooked, but never common." Yet when Jean seduces Charles, she's shocked to discover that she's quickly falling head-over-heels in love. The temptress in her wants to continue her little game and come out on top -- with thousands in her bank account -- but her romantic side has other plans in store as she struggles to persuade her father to abandon their con.

Prior to his 1942 hit, The Palm Beach Story, director Preston Sturges co-wrote this battle-of-the-sexes romp featuring two of the biggest stars of the era. Brimming with witty dialogue and more than a few pratfalls for good measure -- as well as sexually frank innuendo that somehow slipped passed Hollywood censors -- The Lady Eve is a clever and engaging addition to the screwball genre.

Henry Fonda and Barbara Stanwyck

As the slippery dame surprised by the genuine love she feels for her target, Barbara Stanwyck gives arguably one of her finest performances. Generally known for her dramatic roles (see: Double Indemnity), she's an absolute pleasure to watch here as she engages in a battle with her own conscience. Stanwyck manages to portray her character's complexities in such believable fashion you may catch yourself wondering which side of herself she'll give in to: The card shark or the hopeless romantic? She's both effortlessly graceful and charmingly flustered.

Henry Fonda, on the other hand, conveys a vulnerability that's almost painful to watch. Barely cracking a smile -- but generating plenty of genuine laughs with his charismatic performance -- his quest for Jean's hand in marriage is his ultimate goal. Anything less and he would collapse in a ball of misery. Only Fonda could make such an awkward chap such a comedic delight.

The Lady Eve holds up remarkably well, thanks in large part to two exceptional lead performances and the assured direction from a comedy master. Its ingenious script, brisk pace, deceptive characters and sexy banter catapult The Lady Eve into the realm of the classics. It's the quintessential screwball comedy.

FINAL GRADE: A-

Movie Review: The Bourne Legacy

The Bourne Legacy (2012)
Directed by: Tony Gilroy
Starring: Jeremy Renner, Rachel Weisz and Edward Norton

I reviewed this film for Next Projection.

Right from the start, the establishing shot provides a heavy dose of deja vu. Covert operative Aaron Cross (Jeremy Renner) floats on his stomach in the icy depths of an Alaskan lake, immediately bringing to mind the first glimpse we get of anti-hero Jason Bourne (Matt Damon) in the franchise's first instalment. The scene is one of many nods to the original trilogy, a polite tip of the hat to the 2002 blockbuster that started it all.

From there, The Bourne Legacy sets out to both embrace its narrative origins and, at the same time, set itself apart as a stand-alone franchise spin-off -- which is does with varying degrees of success.

With the departure of director Paul Greengrass (The Bourne Supremacy, The Bourne Ultimatum) and Damon's decision not to return in the lead role, producers were left to ponder how best to handle their still-marketable action franchise. It would have been too risky a venture to simply recast another actor in the title role of Jason Bourne, the operative with superhuman strength that helped make Robert Ludlum's book series such a success. The Universal heads ultimately opted instead to build a brand new character from the ground up.

With the original trilogy's screenwriter Tony Gilroy now behind the camera (he co-wrote Legacy with brother, Dan), the latest instalment reverts to familiar espionage tropes -- nefarious government henchmen, spectacular high-octane chases and a variety of exotic international locales -- as it concocts a story that features less relentless action sequences and more scenes with plot-driven dialogue.

The story begins where The Bourne Ultimatum left off, with former Treadstone agent Jason Bourne on the run from shadowy government men. Running parallel to the Ultimatum premise is a second top-secret project referred to as Outcome. Under the watchful eye of intelligence chief Eric Byer (a delightfully snarky Edward Norton), Outcome is in the relatively early stages of creating super-agents; a group of six test soldiers who are administered pills in order to improve them both mentally and physically. Without their daily dose they "regress" and return to their unmodified (read: average joe) state. Due to a potential leak about the inner workings of the program, Byer hastily demands that Outcome disband, consequently marking the six operatives for death.

Enter Aaron Cross, a super-soldier on a training mission at a remote post in Alaska. When the truth about the destruction of the Outcome project is slowly revealed to Cross he goes on the run as the only remaining survivor of the program. With a low pill supply and desperate to stave off a return to mental and physical normalcy, Cross kidnaps Dr. Marta Shearing (the always-reliable Rachel Weisz) a virologist involved in Outcome's drug program.

Renner and Weisz

A series of impressively lensed chases ensue involving cars, motorcyles and parkour; all Bourne staples.

Devoid of jingoism, the franchise features double-crossings, backdoor dealings and omnipresent government threats that originate on American soil (as Norton's government crony Byer growls, "We are morally indefensible and absolutely necessary"); the films were never about protecting the American populace from its own government's secret agendas. Where Bourne sought the truth to his identity, yearning for a normal life, Cross has no desire to return to his pre-Outcome days; preferring the supplements that elevate him to a superhuman level. The government made him this way and he has no qualms about maintaining his high-octane lifestyle, regardless of the cost. These men have superhuman strength -- but they are not superheroes.

While the film delves into familiar territory, Legacy benefits from its inspired casting of Oscar-nominee Jeremy Renner -- an intelligent actor who imbues his performances with fascinating character ticks. With The Hurt Locker, Mission: Impossible - Ghost Protocol and The Avengers under his belt, Renner is fast becoming the thinking man's action hero. He more than holds his own here, lending a gritty, battle-worn realism to the proceedings. His Aaron Cross is a more than worthy replacement for Damon's Jason Bourne.

In terms of narrative The Bourne Legacy is able to stand on its own, although so much of its premise rides on its parallels with Jason Bourne's story threads that it will be interesting to see if it survives and becomes its own full-fledged series.

Bourne purists expecting a non-stop adrenaline rush may wind up disappointed. This latest instalment is a satisfying summer diversion that adroitly balances its high-octane thrills with dialogue-heavy passages that propels the plot forward. While it never quite reaches the level of excellence as the original Bourne Identity, Legacy still makes for a thrilling addition to the franchise.

FINAL GRADE: B+