|Movie Title/Year and Brief Scene Description|
The Game (1997)
Director David Fincher's psychological thriller, his third feature film, was an account of the long 'journey' of its main character - wealthy, cold-hearted, analytical, privileged and soulless, workaholic, "control-freak" San Francisco investment banker executive Nicholas "Nickie" Van Orton (Michael Douglas). He was divorced from his wife Elizabeth (Anna Katarina), who was living in Sausalito with her new doctor husband.
Nicholas was presented with a 48th year birthday gift - marking the same age that his similar Scrooge-like father had died from suicide, by jumping off the roof of their home onto the driveway (seen in scratchy Super-8 footage, a flashback). The gift was from his estranged, rebellious, free-spirited younger brother Conrad (or "Connie") (Sean Penn) while they had lunch together - a gift certificate to Consumer Recreation Services (CRS), a game voucher for a unique, customized 'game' experience of a lifetime. Conrad mused to himself: "What do you get for the man who has everything?" He promised his brother: "They make your life fun...It's an entertainment service. A profound life experience...I think you'll like this. I did. It was the best thing that ever happened to me."
It would soon turn Nicholas Van Orton's world upside down. He ventured to the 14th floor of the high-rise building on Montgomery Street in SF, to enter CRS' offices, where he was greeted by Jim Feingold (James Rebhorn), VP of Engineering and Data Analysis. He was told he had contracted for an intriguing game -
He didn't know that he had already started to play the increasingly-elaborate "game."
The scary scene emphasized by Bravo occurred next. When he drove to his SF home-mansion (actually Filoli in Woodside, CA) that night, Van Orton discovered a life-sized wooden harlequin clown or doll lying in his driveway (in the same position his father had died) - and grinning. At the end of its long cloth tongue was a key marked CRS. Daniel Schorr (Himself), the anchor on the evening news, talked to him through the TV set and called him "a bloated millionaire fat-cat."
At first, he thought the incidents were only a series of "elaborate pranks." However, the ultimate object and purpose of the game became a life/death threatening proposition. The 'game' was composed of an unpredictable series of increasingly life-changing events, causing him to paranoically ask: "Is it real or not?" He wondered: "I'm being toyed with by a bunch of depraved children." Along the way, he met up with his brother who exclaimed about CRS: "They just f--k you, and they f--k you, and they f--k you. Then, just when you think it's all over, that's when the real f--king starts."
Among many other things, his house was broken into and vandalized. He barely escape drowning in a taxi that landed in SF Bay. He discovered that CRS' headquarters had been vacated. His Swiss bank account had been drained of $600 million, and he feared that his lawyer had duped him and was "in on it." He was left broke. Then, he was kidnapped, and found himself buried alive in a coffin-crypt in a Mexico cemetery (from which he escaped); he was reduced to begging in a foreign country, with no money, identification, or passport; he sold his gold watch to pay for transportation.
When he returned to the US, he found his house foreclosed. He returned to the CRS building, believing it was a covert operation out to destroy him ("I'm pulling back the curtain. I want to meet the wizard"). There, he was forced to retreat to the roof when guards opened fire. He was told that everything was a hoax ("This is all a game...There was always a safety net...That's what you hired us for") but he didn't believe it. He shot his white tuxedo-wearing brother Conrad dead as he approached with a champagne bottle from behind the other side of a door. Devastated, Van Orton suicidally jumped off the multi-story building to his death (!). He crashed through two sets of skylight glass and onto a giant air-filled bag-mattress with an 'X' target in the middle.
After the fall and the breakaway glass was cleared, he opened his eyes and realized that he was experiencing the start of his own birthday party thrown by his living brother Conrad. A grand ballroom was filled with guests, applauding him and celebrating his special day - on the 20th of October. Conrad was holding up a T-shirt: "I WAS DRUGGED AND LEFT FOR DEAD IN MEXICO - AND ALL I GOT WAS THIS STUPID T-SHIRT." Van Orton spoke briefly with his ex-wife, and greeted others, and then split the expensive bill for the experience with Conrad.
Gangs of New York (2002)
Director Martin Scorsese's semi-historical film set in the mid-1800s portrayed gang warfare in the Five Points District of NYC between the forces of nativistic Protestant Americans, led by Bill "The Butcher" Cutting (Daniel Day-Lewis), against the throngs of Catholic-Irish immigrants (the "Dead Rabbits"), led by Priest Vallon (Liam Neeson) - and later by his vengeful, grown-up son Amsterdam (Leonardo Di Caprio). As the story progressed, Bill eventually learned of Amsterdam's plot to kill him, to seek revenge for the killing of his father.
In one of the film's more chilling scenes, "The Butcher" baited Amsterdam by engaging in a tense, knife-throwing "command performance" on stage with pickpocket and con artist Jenny Everdeane (Cameron Diaz). Jenny was Bill's former lover ("The Butcher's original apprentice") but now sexually involved with Amsterdam. He demanded her participation: "What do you say, Jen? One more time for the sweet souvenir."
Knowing that she had misled and betrayed him, "The Butcher" violently hurled knives at her with pinpoint precision, first pinning her garment at both sides of her neck to the wall behind her. He then speared the locket (dropped to the floor) that he'd given her as a child as his way of permanently severing his relationship with her. He mockingly chided:
He then asked: "You got the sand to give 'em a Grand Finale?" before his final throw, which deliberately grazed her neck and drew some blood.
He then gave a toast before drinking from a flaming shot glass:
Following the toast, an angered Amsterdam attempted to throw a knife at Bill, but he deflected it, and threw a knife into Amsterdam's abdomen. He announced:
With Amsterdam splayed out on a table, Bill straddled him, called him fresh meat that needed tenderizing, and vowed: "Let's kiss goodnight to that pretty young face of yours!" Bill head-butted him multiple times, then held up a butcher's meat cleaver:
Members of the jeering audience called out body parts to be excised: "The lungs! The liver! The leg! The tongue! The kidneys! The stomach! The heart!" Bill claimed that Amsterdam had no heart. He said he would let Amsterdam live as "a freak, worthy of Barnum's museum of wonders" that would be "marked with shame" - and then burned his cheek with a hot blade.
Director Ivan Reitman's sci-fi comedy film, one of the biggest comedy hits of the 80s, told about three eccentric parapsychologists who decided to rid New York City of its ghosts. The trio were called upon to investigate hauntings in various NYC locations.
Their first real encounter was while tracking down ghosts in the New York Public Library stacks. Ghostbuster-to-be Ray Stantz (Dan Aykroyd) calmly noted the purplish librarian ghost (Alice Drummond) before them: "A full torso apparition, and it's real." He suggested: "We've got to make contact. One of us should actually try to speak to her."
Peter Venkman (Bill Murray) volunteered and approached the figure: "Hello, I'm Peter. Where are you from? Originally." The gray-haired ghost turned and shushed him, with her finger to her lips. When that didn't work, Ray decided to take charge and yelled: "Ready? Get her!"
Suddenly, the library worker turned toward them, and was transformed into a screaming spectral hag (with effective special effects) - a great scare!
Ginger Snaps (2000, Canada)
Director John Fawcett's werewolf horror cult film was followed by both a sequel (Ginger Snaps II: Unleashed (2004)) and a direct-to-video prequel (Ginger Snaps Back: The Beginning (2004)). Its tagline was: "They Don't Call It the Curse For Nothing." The film's theme metaphorically tied together puberty with blood, sexual desire and metamorphic body changes (including possession and infection). These themes harkened back to other films, such as Cat People (1942), Carrie (1976) and The Company of Wolves (1984) - with a deadly feminine twist.
It told about two morbid, late-developing teenaged sisters who were rebellious, death-obsessed, world-hating Goths and disdainful school outcasts in a suburban Ontario high school (in the town of Bailey Downs, a "safe and caring community"). They conducted staged deaths of their own suicidal demises for a school project (shown in the innovative title credits sequence as a series of Polaroids):
When Ginger was attacked/bitten by a beastly, infected lycanthrope ("The Beast of Bailey Downs") while walking through the woods with her sister, linked to the time of her first menstrual period ("the curse") and a full moon, she developed spiky tufts of body hair and a phallic-tail, feral teeth, cramps, a blood-lusting craving for flesh, and a foul temper. In a rest room, Brigitte spoke with her sister:
The changes caused a major rift between Ginger and her sister, who had made a pact to never be "average" and to suicidally "go together" when puberty arrived. Ginger also became more sexually interested in previously-taboo males, and drew male wolf-whistles when she strutted (and bounced) down the school hallway. Sexually adventurous and hormonal, she was lustily aggressive during her loss of virginity to football player Jason McCarty (Jesse Moss) in the back seat of his car, and during sex, she "infected" him. He was shocked by her masculine-like behavior and told her to "take it easy...just lie back and relax" - but she retorted with the same line, declaring that she was "the guy here."
After the blood-inducing date in which she delivered bite wounds to Jason, Ginger stated her view of predatory teenaged blood-lust sex to Brigitte, as she threw up into a toilet bowl: "I get this ache and I thought it was for sex, but it's to tear everything to f--king pieces." Not satisfied with only having sex with Jason, she killed the neighbor's dog. She also killed a school janitor (Pat Kwong-Ho), disemboweling him with her hand, because she suspiciously feared that he had been looking "inappropriately" at her sister. She then told her sister that she loved the blood, linking the violence to solitary masturbation:
Threatened, Brigitte argued back: "I'd rather be dead than be what you are."
The film concluded with more horrific elements after Ginger transformed into a monstrous Ginger-Wolf engaging in a killing spree. She had a threatening showdown with Sam MacDonald (Kris Lemche) and her sister, who up until this point had attempted to rescue Ginger from her animalistic urges. Brigitte felt she no longer had a bond with her sister - she had a choice to either cure her sister with a syringe of "werewolf antidote" or to kill her with a knife. After Sam was mutilated by Ginger-Wolf by bloodily biting him in the neck, Brigitte chose the latter course ("I'm not dying in this room with you"), and stabbed Ginger with the knife when lunged at. But she was intimately close to Ginger-Wolf and hugging her when she exhaled her last breath.
One of Many Staged Deaths
Ginger Transformed - Not Into a Wolf - But a Sexy Woman
Director Martin Scorsese's stylistic masterpiece was an unflinching treatment of a true mobster story about three violent "wiseguys" [Mafia slang for 'gangsters'].
One of the wiseguys, charismatic, loud-mouthed, volatile gangster Tommy (Joe Pesci), exhibited the first traces of his quick-trigger, psychotic, pathological temper in a scene set at the Bamboo Lounge.
There, he entertained other mobsters with hilarious tales of violence laced with four letter words. Laughing, wise-guy Henry Hill (Ray Liotta) chuckled at his jokester pal: "You're a pisser. You're really funny. You're really funny." The comedic scene (improvised by the actors) immediately turned sour and the tension mounted as a seemingly-aggravated Tommy persisted in asking - in a cold-blooded, aggressive, fearsome, and ambiguous tone:
He appeared to take major offense.
Finally (and thankfully), the situation was eased when Henry used humor to defuse his potentially-dangerous friend, but Tommy identified his friend's mortal weakness: "I wonder about you sometimes, Hendry. You may fold under questioning."
Great Expectations (1946, UK)
British director David Lean's film was an adaptation of Charles Dickens' classic 1861 novel.
It began with a nearly-silent opening after the reading of the first paragraph of the book's text ("So I called myself Pip, and came to be called Pip") - followed by one of the most nightmarish scenes ever filmed.
Orphaned young Phillip "Pip" Pirrip (Anthony Wager) ran to a shadowy and dark graveyard near a church, marked by crooked gravestones and markers, as the wind howled and whistled through the bare trees. After he planted a small bouquet of flowers on the grave of his parents who had both died in 1817, he became spooked.
As he turned and ran, he found himself in the arms of bulbous-nosed convict Abel Magwitch (Finley Currie) with chains on his legs, who grabbed him by the collar.
The monstrous man threatened to cut the boy's throat for screaming ("Keep still, you little devil or I'll cut your throat"), and then demanded to know where the boy lived. He turned the boy upside down to empty his pockets (he found an apple), and then commanded the scared youngster:
The items were to be delivered to Magwitch in the graveyard early the next morning, and Pip was warned to never say a word about their meeting if he didn't want to be harmed.
Edwin S. Porter's pioneering western film featured the sensational, stunning shot of a bandit firing directly into the camera.
It was a medium shot close-up of the outlaw bandit chief (with green-tinted shirt and red-tinted kerchief in some versions) (George Barnes) with his hat pushed back on his head. He pointed and shot his revolver point-blank, directly into the camera (and, of course, at the audience).
This caused a tremendously terrifying sensation at the time. This final punch to the film was totally irrelevant to the plot. Theater managers were free to either begin or end the picture with this scene -- a promotional gimmick - selecting it as either a prologue or epilogue.
The Grudge (2004)
This non-linear, cursed or haunted house film, an Americanized version of the Japanese original Ju-On (2002, Jp.), was the first Japanese film to be remade using the same director, Takashi Shimizu. [Note: Actually, Ju-On (2002) was the third installment of the Ju-on series.]
It had many cliched jump scenes, sudden appearances/disappearances, and spooky "boo" moments by vengeful ghosts, making creepy rattling sounds. [There were additional sequels about the deadly curse following its initial success: The Grudge 2 (2006) and The Grudge 3 (2009).]
The premise of the film was stated in the opening:
The wretched, much angrier and infectious curse, known as The Grudge, would be reborn and passed on to others in that same location, because of the horror of an earlier event that occurred there.
It told about American foreign exchange student Karen Davis (Sarah Michelle Gellar), dislocated in Tokyo, Japan, who was there with her live-in boyfriend and fellow student Doug (Jason Behr). She had been assigned to serve as caretaker-home nurse, substituting for missing nurse Yoko (Yoko Makai), in the house where Saeki family murders had occurred. (When Yoko investigated strange cat-like rattling sounds in a closet with a top hatch, she was dragged by her jaw into the attic.)
Three years earlier, a raging suicidal Japanese father, Takeo Saeki, had killed his eight year old son Toshio and wife Kayako (and the family cat) after learning from her journal that she was obsessed with a 51 year-old college professor named Peter Kirk (Bill Pullman). After drowning his son and snapping his wife's neck, Takeo then hanged himself. Detective Nakagawa (Ryo Ishibashi) explained to Karen: "The bodies of the son and the daughter-in-law of the woman you are caring for were found in the attic. It seems that the son killed the wife and then himself."
Subsequently, Peter - in the presence of his 31 year-old wife Maria (Rosa Blasi) bent over the balcony railing and threw himself from his 6th floor in an act of suicide.
In a supernaturally-eerie house with cursed spirits, with litter (food wrappers) strewn around and a taped-shut closet, Karen was caring for a mute and seemingly-catatonic, shut-in, bedridden elderly and senile American named Emma Williams (Grace Zabriskie). She was the mother of son Matthew (William Mapother) (who was married to Jennifer (Clea DuVall)) and daughter Susan (KaDee Strickland).
There were a series of frightening scenes:
Besides the terrifying scary scenes were many murders by the spirits in the attic: Matthew, Susan, Emma, Jennifer, and Detective Nakagawa.
In the film's concluding climactic scene set in the house, Karen tried to save Doug from entering the house before she arrived. Too late, she saw him on the downstairs floor, crawling, shaken and barely able to speak or move. Suddenly, she saw the freakish-looking mother Kayako crawling down the stairs from the attic, with the sounds of a death rattle. To try to save Doug and get him out of the house before Kayako killed them both, Karen knocked over a left-over gasoline can and used Doug's lighter to set the place on fire, but the mother turned on her and killed Doug.
In the next scene set at the hospital's morgue, the scary finale - Doug's burnt body was covered with a white sheet. The police mentioned how Karen seemed to have survived the curse and was able to save the house. Then, the sheet jerked, and the dead wife's purplish pale arm flopped out - but it was really Doug's arm on second glance. Karen suddenly heard the death sounds of Kayako - standing right behind her. There was a whip-to the left and zoom-in on Kayako's ghostly eye. The screen abruptly turned to black with an echoing scream sound before the credits rolled.
Dead Saeki Family
The Fingers in Hair
The Scary Finale
(alphabetical by film title, illustrated)
Intro | #s-A | B | C-1 | C-2 | D-1 | D-2 | E | F | G | H
I-J | K-L | M | N-O | P | Q-R | S-1 | S-2 | S-3 | T | U-Z