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Scariest Movie Moments of All Time


There’s nothing that makes you wanna sleep
with the lights on more than a good old fashion scary movie. But how does that work? To figure it out, we’ve took a look at
some of these scenes that did it best. These are our picks. For the seven scariest
moments of all time. [MUSIC] Kicking us off at number 7, let’s get
it out of the way, the jump scare. People complain a lot about
jump scares in horror films. And if these people are to be believed,
jump scares are played out. But we don’t think that’s true, we think
that bad jump scares are played out, mostly because the audience is way,
way ahead of the filmmakers. We see those hiding spots a mile away. But filmmakers who can keep
ahead of expectations, who can put jump scares where we least
expect them, that’s what we love. It says to us,
on some deep subconscious level, that place you thought you were safe,
yeah, there’s danger there too. Think Insidious’s from behind a head,
Friday the 13th’s from in the water, The Ring’s from beyond a cut, The Descent’s In the dark,
Scaries Below ground. The Fellowship of the Ring’s
right in front of us. And even The Cabin in the Woods title. However, for our number seven
we’ve got to give it to Jaws. [MUSIC] Aah! Even when you know it’s coming,
you almost don’t know it’s coming. And sure, the sound helps it along. But the real genius here is that Jaws
sneaks around our expectations by not even letting us think it’s a horror movie. It’s a horror in disguise. A low-key horror that doesn’t have any of
the surface signifiers to warn us to keep our guards up. So we sit back, relax and spend our
time watching it like an action film or a disaster film or maybe even a thriller. But we’re not sniffing out jump scares, so when one does emerge,
it’s all the better for it. Next up at number six,
we’re moving from surprise to suspense. And where the jump scare hits
us where we don’t see it coming, the suspense scare hits us where we do. Well, almost do. Suspense is really just fear of
the unknown, anxiety about the future. You take your protagonist, you confront
them with the terrifyingly deadly outcome and then inject a little
ambiguity into the mix. It’s the closet in Halloween. It’s the bathtub in Les Diabolique. The hallway in Nosferatu. The basement in Silence of the Lambs and
the ending of Wreck. And while those all wet
our collective drawers, we think that zodiac takes
the wet drawer cake.>>This tip is how you go it in
your head that Rick is the zodiac?>>That and the poster.>>The poster?>>Doug. The poster that Rick drew. The handwriting is the closest
that we have ever come to a match.>>Rick didn’t draw any posters.>>No, he drew this one. Mr. Graysmith, I do the posters myself. It’s my handwriting.>>I won’t take any more of your time.>>Why don’t I just go and
find out when we played that film?>>That’s all right.>>It’s not a problem.
They’re just down in the basement. [MUSIC]>>Not many people have
basements in California. [MUSIC]>>I do.>>Zodiac devotes its entire plot up
to this point building up a terrifying impression of the killer and teaching us
subtle clues that might identify him. And then when all the sudden Bob Vaughn
starts ticking all the clue boxes, we can’t help but recall that terrifying
reputation he now might posses. Well Fincher is as always pitch
perfect in his execution of the scene. Building the suspense into a fever
pitch of terror through camera and editing and audio. We think the reason it’s so effective
is that, while we might be yelling, don’t go down there you idiot,
at the screen, he’s not an idiot. He’s not walking down there without
any sense, but in spite of his sense. His character is just as afraid as us but
his decision to press onward is completely in keeping with who he is,
curious and obsessive to a fault. And the best part, despite the distinct
probability of getting super murdered, we’re so curious that we want
to go down there with him too. At number five, we got a twist on
suspense that takes it one step further. It’s not the suspense that comes from
knowing something bad might happen, but the dread that comes from just
kind of suspecting that it might. It’s a feeling not a thought, it’s a visceral uneasiness, a nameless
anxiety not a conscious objection. Our emotions are telling
us to feel suspense but our intellects got no
reason to confirm it. In stark contrast to
the surprise of the jump scare, this succeeds on being familiar. It’s usually hidden away in
the way the story is told. Not the story itself. It’s the imperceptible and
inexplicable shift in the music. It’s the shot that’s holding way,
way too long. It’s the metanarrative understanding
that the filmmakers have got to do something bad sometime soon. It’s right before we meet leatherface
in Texas Chainsaw Massacre. It’s the first kill in Jaws. It’s most of the entirety
of The Blair Witch Project. It’s the hospital scene in Exorcist III. It’s every part in a movie where
the horror strings swell for no God damn reason other
than that’s what they do. However, our favorite version of this
might just be the diner scene from Mulholland Drive.>>So, you came to see if he’s out there. To get rid of this God awful feeling.>>Right then.>>This scene is such a perfect example
because while we’re feeling it, watching it, Patrick Fischler’s
character is feeling, living it and there’s perhaps no one better at
executing it than David Lynch. He sets us up with a brilliantly
detailed story of a dream. The illogical, emotional terror of it and
then prods us through it. Giving us no reason to fear
anything except that we do. With the river be sound, creeping drone,
and lingering POV camera, he gives us subtle emotional
cues to feel uneasy. Exactly like the memory of a dream might. So when the jump scare at the end
confirms our non sense for fears it turns our whole
world upside down. [MUSIC] Moving forward to number four, we’re turning away from those fears
that play with our expectations and anxieties and instead looking at the ones
that frighten us on a primal level. And first step,
we wanna talk about the grotesque, the shocking perversion of the human body. There’s something intrinsic to human
nature that makes looking at the distorted human form horrifying. It’s the reason for the uncanny valley. It’s a fate worse than death,
a waking death. It plays on our basic fear of mutilation, reveals our repressed denial of
the fallibility of our body. It’s the distorted figure like in
Jacob’s Ladder, The Other, Safe and the Dark Crystal. It’s torture porn like Eyes Without
a Face, Martyred, Misery and Human Centipede. It’s body horror like American Werewolf
in London, the Things, Potrero, Eraser Head, Video Drone and Pinocchio. That’s right, Pinocchio. For our number four pick,
we think it’s gotta be the demonic perversion of a little
girl from The Exorcist. [MUSIC]>>She earn. My God! [MUSIC] [NOISE] My God.>>[NOISE] [SOUND] That! The Exorcist is brilliant with it’s body
horror because it’s not as much the form of the human body that’s distorted but
it’s movement. And it doesn’t just pick any old victim. A devil with red skin and
horns, that we can deal with. But a little girl in pajamas,
feels so evil. The distance between
a fantasy of the story and the reality of our lives is collapsed. It’s playing on the border
of the familiar, all the while making it
terrifyingly strange. There’s something wrong,
something deeply inhumanly wrong and it’s hard to watch which is exactly
why we want you to watch it. The human form isn’t the only
thing movies can pervert. It’s often just as effective to
pervert the the human psyche. This time your character
is even more familiar but something about the way
they act is just off. It’s creepiness, eeriness, it’s
the chilling sensation of stranger danger. Think the beach from Under the Skin,
the end End of Psycho, the [SOUND] from audition. It’s Frank from Blue Velvet, the pedophile
from Gone Baby Gone and that God damned air conditioner that ruined my childhood
from the Brave Little Toaster. They’re all terrifying, twisted
psyches in innocent looking packages. Things we deeply repress as part
of our everyday socialization. And the scariest of them all,
the death drive. If Freud is to be believed that death
drive is a compulsion towards self destruction. It’s repressed, subverted,
converted, defeated. So when we see someone enact this
self-destructing upon themselves, it’s the absolute worst. Now we too might be the monster
by whom we are victimized. We can’t be trusted because somewhere deep
inside our subconscious is a death drive waiting to escape, like Hell Raiser or
Anti Christ or Mirrors or The Omen or again, with the Exorcist. They shock us in a way little else can. But if there’s an award for most scarring
of the bunch, it has to go to Cache. But before it does, this is a serious
spoiler for an incredible film and an immensely disturbing sight. So, proceed with caution. [SOUND]>>What’s going on?>>Thanks for coming. Come in.>>What’s this all about?>>Sit down.>>I truly had no idea about the tapes.>>Is that all?>>I called you because I
wanted you to be present…>>[NOISE] Death just comes so suddenly. This is a spine chilling
expression of immense pain. A disturbing reminder of the fragility
of life, a psychological jump scare. It is grotesque of the body,
it is grotesque of the mind, it is danger from where
we least expected it. And it’s absolutely horrifying. There’s no fancy camera work,
no unknown outcome, no shrieking score, just a man in his terrible pain. Way too close for comfort. [SOUND] Closing in at number two there’s
a certain kind of scare that besets upon us from all sides. And not just the protagonist as a proxy,
but seemingly us, the viewers themselves. In contrast to the jump scare where it’s
over in an instant, where the various forms of suspense that toy with the idea
that something bad might happen. This kind of scare puts us right in the
middle of that bad thing happening right now and leaves us there. The shower sequence from psycho
is the perfect prototype. We are being stabbed, over and over. Annihilation is approaching
from all sides. Wherever the camera turns there’s a knife. And it’s not just the characters in
the stories that are assaulting us. The editing and the music are almost
literally cutting into our experience. It’s horrifying. However, for our number two pick, we’re even more impressed by the ending
of Nicolas Roeg’s, Don’t Look Now. [SOUND]
>>It’s okay, it’s okay. I’m a friend. [SOUND] [MUSIC]>>It’s simultaneously a physical
annihilation and a psychological one. There’s a realization embedded
in his dying thoughts. A realization that destroys
his former world view. But even as the montage gives us logic and
story. It’s more about the effect of it,
the cutting is assaulting us with all kinds of frightening imagery,
evocative imagery. It’s a violent rush of imagery. It attacks us as we watch it. The church bells assault us as we listen. There’s little time dedicated here to
the surprise and the suspense of it and more to the abject horror of death. And that’s what this sequence is, a cinematic interpretation
of the experience of death. The final dissent of the symbolic
into bloody madness. [MUSIC] At the core of all this fear, of all this
suspense and surprise and terror and horror and piercing violence and
flashing frames is one thing, death. Literally or symbolically, each of these scares
confronts us with the threat of death. The experience of death, the fallibility
of our defenses in the face of death. Where our number two assaulted us with
the cataclysmic violence of death. Our number one tried to overwhelm us with
something even worse, the nothingness. The utter hopelessness,
emptiness and bleakness and suffocation and meaningless of the void
and we won’t beat around the bush here. Although there are moments in Johnny Darko
where we sneak a feel of this and we think Kubrick also manages it pretty
dreadful since of doom at the end of 2001. Our number one pick has
to be from The Shining. [MUSIC] [SOUND] It is rolling death. It is overwhelming our senses. It is inescapable. We are immobiling the face,
it is intercut with flashes of danger, flashes of terror in its face,
but with no sound. We are powerless to even scream in
the face of the hypnotizing drone. It is slow and simple and
quiet and completely abstract. We are not really afraid of drowning
in a molasses speed tsunami of blood. But something about it just contains the
feeling of existential dread in the best possible way, so that we can’t help but experience our entire self being swallowed
up by the inevitability of death. Which is why we think it’s one of
the scariest moments of all time. [MUSIC] So what do you think? Do you disagree with any of our picks? Did we forget the moment that’s
most often fueling your nightmares? Let us know in the comments below and
be sure to subscribe for more CineFix Movie Lists. [MUSIC]

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Comments
  • Watching the Basement scene from Zodiac was the most terrified I have ever been watching a film. Excellent film.

  • I know it's not a horror movie and not even that scary to most people but for 4 I would've chosen Akira's final battle. Or rather, Tetsuo's transformation. I have yet to see a movie that captures a better and more frightening eldritch abomination

  • The movie "Sphere" has some pretty terrifying moments, but I don't know which specific scene should be on the list

  • I've seen Jaws many times and is one of my personal favorite films. So I happen to be watching this movie as part of the horror unit in my cinema class. I was writing some notes on a paper down and when the head pops out and the music screeches, my hand and heart literally jumped while writing.

  • Usually I agree with everything that they say except now because that elevator scene in shining is not scary at all it's just weird and strange and it's just blood.

  • I don’t get this video. I thought Halloween was number 6 then you started talking about zodiac. Get your videos right

  • For number 2 I would have put final destination like Todd's death, cuz you see the whole build-up and when he slips it leaves you in such a tense spot and it is so impactful. There are probs other deaths you could put in like any of the premonition scenes but that is still a good moment

  • I am legend when he goes after Sam in the building and Signs when the news shows the alien at the kids birthday. Still jacks me up😵

  • Neither my husband nor I like horror movies. We watched The Exorcist and neither one of us thought it was that scary. I think we have become so used to computer graphic that it seemed fake in certain parts. Great acting tho, and for the time the effects were pretty good.

  • 9:30 That scared me for just a moment, until I realized it is totally unrealistic. Deeply cutting one side of the neck, down to the carotid artery, will not result in an instantaneous death. What was portrayed is more like a gunshot to the brain.

  • still cant watch the mullholland drive scene. its not really that scary but the first time i saw it it fucked me up hard

  • Hey guys, I need a little bit of help here. There's this movie I watched when I was way too young. A horror. Anyways, I tried several dozen times to find it, but without much luck. So, I'm wondering maybe some of you, or someone subscribed on the channel, know it.

    What I can remember is that a woman (or man) finds herself checking into a rundown apartment building and there's a lot of stuff going on (which I can't quite remember), and the landlord or neighbor turns out to be the bad guy (killer), and there's an entire showdown in the hallways and stairs of the building with some white stuff (think cotton balls or something similar) that fills up the space when in the final scene the landlord falls to his death, the girl survives and roll credits. It's definitely in English so I suppose it's Hollywood or thereabout.

    If someone knows it please help. I'd be grateful, like 20 years grateful.

  • The Shining is creepy and disturbing but for me that isn't particularly scary.

    Hands down. Without doubt.
    The Exorcist (original) is STILL the scariest movie I've ever seen. I still can't get through a lot of the movie unless I'm peaking through the smallest gap with my hands over my face.

  • Yes yes yes! Mulholland Drive's diner scene is my favorite one. The way he describes his dream just before makes it so good.

  • The scariest scene for me is in Rear Window. When Jeff is watching Lisa in Thorwald's apartment after the police show up. When Thorwald's looks up and stares directly into the camera. Jeff (and us) know that we have been caught.

  • I totally agree with the first position; at thirteen years old, I was literally driven to tears in a couple of seconds by the elevator scene. And fallen in an everlasting love for Kubrick.

  • When I was in junior high I went to see Tales From The Crypt. Peter Cushing climbing out of the grave and walking down the street with clumps of earth falling from him, rotting, on his way to kill the person who drove him to hang himself…that kept me up for two nights, afraid to look out my bedroom window for fear he was coming to kill me. The movie is dated now but at the time, I had never been as frightened…

  • One of the things that terrifies me the most, is the ending of Sinister, as it almost promises that this isn't over… Contrary to similar horrors, this ending has or resolution to the monster. Normally you would see the family escape or the monster be slaughtered… but no. This is the perfect setup to a sequel, as the horror is not stopped, and actually thrives instead of being defeated.

  • I don’t know how to catergorize it, but requiem for a Dream has got to be one of the most scary for how realistic and depressing it is

  • I gotta say, I like jumpscares only because they turn your stomach but they don't stay with you. Films that leave you disturbed and thinking about it afterwards are the ones that I don't like watching because they truly scare me, like hereditary.

  • CineFix : This scene still scares me more than any scene in any movie I've ever seen.
    It's in Alfred Hitchcock's, "The Birds". It's the playground scene when Tippy Hedrum (I'm not sure of the spelling) sits down on the bench, and one or two birds lands behind her. Then the camera leaves her, and moves into town, or somewhere else. When the camera comes back, there are a few more birds. And each time the camera leaves her and comes back, there are a few more birds; until there is a whole passel of birds Just the way it's done, I just can't explain it. It just gives me the creeps. The birds wait until there is a bunch of them before they attack. It's like they have some kind of conscious, collective mind governing them.

    I've watched the "head: scene from "Jaws" and that's scary. "Fatal Attraction" scares me. "The Thing" scares me; "The Exorcist" and a whole bunch other. "Cujo" scares me; but that playground scene in "The Birds" does it for me.

  • Seriously? The Shining is one boring movie with no scares at all. And blood is not scary, no matter in which quantity.

  • I don't know. . . I think the decomposing corpse in the bedroom in Mulholland Drive was far scarier than dirty vagrant. Also, Katie in the closet from The Ring is the single most effective jump scare that came out of nowhere in movie history (although it's trumped by a certain scene in one of the later episodes of Netflix's The Haunting of Hill House–if you watched that, you know EXACTLY what I mean).

  • That scene in Zodiac scares the crap out of me every single time I watch it. The whole movie does actually. Fun Fact: Jake Gyllenhall (?) actually grew up with the actor that plays this “could be Zodiac.” He knew him very well and, according to Jake, the actor is completely opposite of the character he plays.

  • I feel like I learn something every time I watch one of Cinefix's videos. I also get like 15 amazing movies I haven't seen each video haha, up to this point I had never heard of anyone except my old film professor talk about Cache, which is a shame

  • Fun fact about Jaws… when it was released in the theater, smoking was still allowed in them. After that head came out of the boat, you could have read a book by the light of all the cigarettes being lit, me among them. Talk about an original jump-scare!

  • Wait a minute you're picking the shining over the haunting? They get away in The Shining I mean Jack Nicholson's character dozen but he's kind of the bad guy of the story we don't want him to get away really not mid movie then we're just and tied Jack Nicholson. Before that maybe but once he started going batshit and wanting to kills family let him die move on but the haunting is gleeking a different way it's Bleak in a way that she can't escape this is her home now and what's even worse has she wants it so it's like a bleakness in a hopelessness I don't know how else to explain it it's her of a combo the too but I think she's Bleak because there's no hope. No hope to have another home of her own no hope that she has any place to go no hope that she'll feel love anywhere else but in this psycho home. The fantastic movie she kills herself just to be there talk about I mean this movie covered literally every base in my opinion because you don't know what it is you don't know if it's real or if it's in her head if she's crazy or if she's actually having these experiences and yes her friend is also having them but maybe she's psychic the house to rain rocks. So she very well could be causing it herself that was the whole point. So it could be that the banging was completely Eleanor in her psychotic brain it the movie is brilliant and I'm not a movie snob I'm really not I probably come off as one right now but I'm not the hunting though is one of my all-time favorite movies because it's so different from any other movie that's out there I think the only movie that even comes close to the same field and it's not closed sort of different is Thirteen Ghosts and I'm talking the original of both not the new versions.

  • Either I'm watching a coincidental succession of CineFix videos, the video makers are great fans of Jake Gyllenhaal movies , or there was a time where he appeared in every movie made and I just didn't notice…

  • the Spider walk scene in the theatrical cut of Exorcist was removed due to it being too scary…. and for good reason.. then decades later when the directors cut was released for the 1st time in theaters in the late 90s… I watched it … and boy was that a mistake… haha

  • The biggest jump scares for me as a kid which I’ll never forget has to be the demonic face in the exorcist (silent & unexpected), Signs – birthday party scene and the tv scene at the end, What Lies Beneath – bathtub scene when Harrison Ford reaches for his wife’s necklace

  • You're videos are so we'll done. I enjoy them a lot except for one thing; why do you have to ruin each one with blasphemy (God's name in vain)? Seriously, it's like you have a check list and one of them is to squeeze in a GD once or twice. Honest question. Why do you feel the need to do that? Just curious.

  • So…sometimes I laugh at very inappropriate times, usually if I'm uncomfortable. I busted out laughing when home dude slit his throat in Caché and I was watching this with my mom.

  • My Top 5
    5. Acupuncture (Audition)
    4. Silhouette (Nosferatu)
    3. The Nail (A Quiet Place)
    2. Tall Man (It Follows)
    1. Under the Blanket (The Grudge)

  • Out of all the movie scenes you could pick from, I don’t think that particular scene should be #1. I’m also disappointed you didn’t mention the Babadook. That movie is so tense and suspenseful, by the end your palms are sweating.

  • I've never seen some of the movies on this scary moments, but one I did see and TOTALLY disagree with is The Shining. I read and re-read the novel and found the movie a HUGE letdown. I thought the location was great, and the actors (except for Scatman Crothers) very good. But the movie smelled horribly. Jack Nicholson was allowed to do his One Flew Over The Cuckoo's Nest thing instead of at least doing what King wrote.. Stephen King is the master of fear and knew exactly what he wanted his characters to do. Nothing could scare except what he wanted and wrote and nothing did.

  • The dream scene in Mulholland Drive is a masterpiece but scariest David Lynch scene hands down goes to the face distortion at the end of Inland Empire. That truly fucked me up.

  • It (2017) “time to float” scene or the dancing scene. I know that movie wasn’t out yet when this video was posted, I’m just saying as of now. It sometimes gets a bad wrap just for being one of the most popular horror movies, but honestly, most horror movies don’t get me except this one. Something about it, the way pennywise moves, the suspense in every scene, feeling like you’re trapped. It makes me want to cry honestly. I feel like I’m there. And Jesus Christ when it gets stabbed in the eye in the time to float scene. The new form it takes is so horrifying. And then how in goes down the hall, leaving the door open, with the kids having nothing to do but to wait for him to come back. It’s brilliant.

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