|Movie Title/Year and Brief Scene Description|
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: "That's a wound! I want yous all to meet the son of Priest Vallon. I took him under my wing and see how I'm repaid. He saves my life one day so he can kill me the next, like a sneak-thief instead of fightin' a man. A base defiler. Unworthy of a noble name." 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!
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: "You get me a file and you get me vittles or I'll have your heart and liver out." The items were to be delivered to him in the graveyard early the next morning, and he must 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 (2003)) had many cliched jump scenes, sudden appearances/disappearances, and spooky "boo" moments by vengeful ghosts. [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 curse, known as The Grudge, would be reborn and passed on to others in that same location.
It told about American foreign exchange student Karen Davis (Sarah Michelle Gellar) 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 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