Greatest Scariest
Movie Moments and Scenes


Greatest and Scariest Film Scenes
Title Screen
Movie Title/Year and Brief Scene Description

M (1931, Ger.)

Director Fritz Lang's highly influential film - his first sound film, was an expressionistic psychological thriller about a child molester and murderer who terrorized the German city of Berlin.

After school, a little girl named Elsie Beckmann (Inge Landgut) bounced her ball against a billboard, as the shadow of psychopathic Berlin child-killer/molester Hans Beckert (Peter Lorre) moved over the poster of the billboard (reading "10,000 Marks of Reward - Who is the Murderer?") that offered a reward. Beckert leaned down and spoke to the girl, still in silhouette: ("You have a very beautiful ball. What's your name?...").

As he stalked and approached his target by buying her a balloon, he compulsively whistled his motif - Edvard Grieg's "In the Hall of the Mountain King" from the Peer Gynt Suite.

Soon after, Elsie's place setting at the table was unoccupied and both the ball (bouncing away) and the balloon (floating away into telephone lines) were seen - signifying the girl's abduction and murder. An extra edition of the newspaper reported how another young kidnap-murder victim had been claimed (the 9th victim).

Beckert was later marked by underworld members with the letter M on his back, until caught and tried in a kangaroo court, and then by a conventional court.

Mad Love (1935)

Peter Lorre's first American role was in famed cinematographer/director Karl Freund's melodramatic horror film - an adaptation of Maurice Renard's 1920 novel Les Mains d'Orlac. MGM's film was the first direct American remake of the German horror film - director Robert Wiene's The Hands of Orlac (1924, aka Orlacs Hände) starring Conrad Veidt.

Lorre portrayed twisted surgeon Dr. Gogol who became obsessed with Parisian Grand Guignol theatre actress Yvonne Orlac (Frances Drake). He was known for his great surgical skills: "He cured deformed children and mutilated soldiers." He had watched Yvonne Orlac's performances from a private box for 47 consecutive evenings at the Theatre des Horreurs, a role that required her to endure bondage and torture for committing adultery.

Backstage in her dressing room after the final show, he was shocked to learn that she was married to concert pianist husband Stephen (Colin Clive), and was leaving for London, England to live with him. To satisfy himself for the time being, Gogol purchased a wax effigy and life-scale figurine of his beloved (displayed in the theatre's lobby) from the waxworks movers who came to remove the theatre's statue of their star performer and melt it down.

Meanwhile, Stephen was on a train bound for Paris on which police were transporting Rollo (Edward Brophy) - a convicted American circus knife-murderer with a deadly talent for throwing knifes. In a stroke of unlucky fate, the train jumped the tracks and Stephen's prized hands were irretrievably crushed. The execution of Rollo was conducted - by guillotine, as Dr. Gogol, the medical examiner, watched.

Knowing that the amputation of her husband's hands would end his career, Yvonne begged Dr. Gogol to save his precious hands ("Doctor, you don't understand. His hands are his life!"). He confessed his obsession to her:

Is there no room in your heart, even pity for a man who has never known the love of a woman but - but who has worshiped you since the day he first walked by that absurd little theater...Oh, I can't be silent any longer! You are a woman, you must have known!

She admitted that even if she wasn't married, Gogol frightened and disgusted her. He knew that she would never understand his lustful desires: "I, a poor peasant, have conquered science! Why can't I conquer love? Don't you understand? You must be mine. Not his. You are mine!" She pushed him away: "Liar, hypocrite, you disgust me."

Thereafter, Gogol schemed to win her admiration, gratitude and love by acquiring Rollo's body, chopping off his hands, and transplanting them onto Stephen - without really explaining what he had done. After a long period of physical therapy, Stephen's scarred and disfigured hands gradually healed but he couldn't play the piano as before - and he began to realize that he had an uncanny ability to throw knives or other objects with deadly accuracy.

Meanwhile Gogol worshipped his wax statue and read from a book:

"Galatea! And I am no Pygmalion! 'The face of all the world has changed, I think, since first I heard the footsteps of thy soul...Guess now who holds thee? Death, I said. But there the silver answer rang: Not death, but love!'"

Accused of killing his stepfather Henry Orlac (Ian Wolfe) and worried about his own guilt with his deadly new hands, Stephen visited with a strange man who introduced himself as the decapitated yet revived Rollo - in a shocking and scary appearance, "Rollo" was dressed in a trenchcoat, with a black Stetson hat, dark sunglasses, metal hands, and a heavy neck-brace. It was implied that he was the resurrected-from-the-dead condemned killer Rollo who had been guillotined. He claimed that Dr. Gogol had grafted his hands onto Stephen's wrists, and also reconnected the severed head onto Rollo's body!

Rollo died in the guillotine. Yes, they cut off my head, but that Gogol, he put it back here.

To implicate Stephen (and thereby have Yvonne all to himself), "Rollo" led Stephen to believe that he was his father's murderer - and that the murder had been committed with the hands that were removed from his body. After Stephen departed and was about to be arrested, in a masterful scene, the maniacal, hysterically-giggling Gogol removed his neck brace (to keep him from losing his head) and revealed his identity.

Gogol - now increasingly insane - spoke to his wax statue (actually Yvonne who had broken the statue and pretended to take its place) and admitted his guilt and plan to implicate Stephen ("that fool"):

That fool. He believes he murdered his father. He'll kill now. Power of suggestion. How easily it worked. Triumph, Galatea. Triumph. He thinks he murdered his father, when it's I who killed him. Galatea, she'll come here now, flesh and blood, not wax like you. And he, he shall be shut up in the house where they keep the mad. I, Gogol, will do that. He shall be shut up when it's I who am mad. But nobody knows that. Excepting you and me. It's our little secret. And now I shall play to you, for the last time.

In the somewhat traditional ending, Yvonne was in the murderous clutches of the Gogol madman, who discovered blood on Yvonne's left cheek and realized she was alive:

There's blood on your cheek, Galatea. So it seems that wax can bleed. Galatea, I am Pygmalion! You were wax, but you came to life in my arms....You speak. You speak to me. My love has made you live. Galatea, - give me your lips....Why are you afraid of me? I love you, I love you. You came to life for me. Don't you know me, Galatea?...Each man kills the thing he loves...

Gogol refused to take Yvonne's rejection and 'no' for an answer, and threatened to strangle Yvonne with her own hair ("And so I find a thing to do with all her hair In one long raven string I wind three times her little throat around and strangle her No pain feels she...I am quite sure she feels no pain").

She was saved when Stephen opened the panel on the bolted door and expertly threw a knife into Gogol's back.

Parisian Theatre

Obsessed Dr. Gogol (Peter Lorre)

"Rollo" With Neck Brace and Metal Hands

Gogol With Yvonne (Pretending to be Wax Statue)

Attempted Strangulation of Yvonne

Gogol Knifed in Back

The Couple Reunited

Manhunter (1986)


This was the first film to introduce the serial killer character named Hannibal - serving as a prequel to The Silence of the Lambs (1991). It was based on Thomas Harris' 1981 best-selling novel Red Dragon, and from the screenplay by director Michael Mann. The film's original title might have been misinterpreted as a kung-fu movie, so it was renamed with the bland title of Manhunter. This psychological thriller was later re-made as Red Dragon (2002) by director Brett Ratner, starring Anthony Hopkins as Dr. Hannibal Lecktor (now spelled Lecter) and Edward Norton as Will Graham.

The film's scariest high-point was the torture and death of obnoxious, sleazy National Tattler tabloid journalist Freddie Lounds (Stephen Lang), who was conducting his own investigation of the Red Dragon murders conducted by a new serial killer named Francis Dollarhyde (Tom Noonan), known as the Tooth Fairy because he left bite-marks on his victims.

Lounds was ambushed by the The Tooth Fairy serial killer in an underground parking garage. He was chloroformed and kidnapped. During a shocking torture scene, Lounds was blindfolded and strapped in a wheelchair, and taunted: "According to you, I'm a sexual pervert. 'An animal,' you said." Dollarhyde was incensed that Lounds' tabloid had printed a false and derogatory profile of him as the Tooth Fairy.

The tall, crazed "Tooth Fairy" enemy with a cleft-palate and scraggly white hair wore a ladies' sheer stocking mask over his head and eyes, and forced Lounds to watch a slideshow beginning with a painting of William Blake's The Great Red Dragon and the Woman Clothed in the Rays of the Sun, with further pictures of his transformed female victims (Mrs. Leeds, Mrs. Jacobi), and imminent future victim Freddie Lounds. The killer told the helpless Lounds:

"Before me, you are a slug in the sun. You are privy to a great becoming, and you recognize nothing. You are an ant in the afterbirth. It is your nature to do one thing correctly, tremble. But fear is not what you owe me. No, Lounds, you and the others, you owe me awe."

Lounds was forced to record a note in which he admitted his writings about the Red Dragon killer were lies, and that FBI profiler agent Will Graham (William Petersen) had coerced him to write the untruths (part of the note: "He will be more merciful to me than to you. You will lie awake in fear of what the Red Dragon will do"). The "Tooth Fairy" then announced that Lounds' promise to tell the truth would be sealed: "We'll seal your promise with a kiss."

The screaming Lounds had his lips bitten off (off-screen) and then was set ablaze in the wheelchair. He was rolled down a steep underground parking garage ramp towards the camera - his death occurred later (offscreen) in a hospital.

The Torture and Death of Freddie Lounds

Maniac (1980)


This was a classic 80s slasher film and controversial, disturbing horror film from director William Lustig, with incredibly gory special effects by bloody make-up guru Tom Savini. The director admitted the film was a compilation of various serial killers in the news at the time, i.e., David Berkowitz and John Wayne Gacy. It was a notorious precursor to Henry: Portrait of a Serial Killer (1986), and was reminiscent of an urban version of The Texas Chainsaw Massacre (1974). The film was remade as Maniac (2012) with Elijah Wood.

The gritty splatter movie opened with a nighttime scene of an unidentified male using coin-operated binoculars at a beach to spy on a couple (James Brewster and Linda Lee Walter) on the dunes under a blanket. When the guy went to get wood, the stalker came up to the female and slit her throat. When the boyfriend returned, he was garrotted from behind with a wire.

The stalker had been introduced - he was a self-loathing, self-torturing psychopath named Frank Zito (Joe Spinell, the film's co-producer and co-scripter), who often rambled and spoke to himself with an inner monologue, similar to Norman Bates' character in Psycho (1960). The demented and lonely Zito lived in a tiny NY apartment, adorned with a framed picture surrounded by candles of his prostitute mother Carmen. Later, it was revealed that the mama's boy had been abused by her - she locked him in a closet while she entertained tricks.

Zito stalked the streets of NYC to find pretty victims to kill and scalp. Then, he would take their clothes and trophy scalps home to dress up his growing mannequin collection. He collected a creepy set of decorated mannequins in his one-room NY apartment. They wore the scalped hair of his female victims (he nailed the bloodys tufts of hair onto their heads). He also slept with his 'females' - handcuffed.

The deranged, sweaty, pudgy Zito was responsible for many stalkings and deaths strung together in this violent film - committed in a gruesome fashion. Zito's next victim was a hooker (Rita Montone), who was strangled after Frank began to have sex with her in a hotel bedroom. Frank then scalped the woman with a razor.

Zito Strangling and Scalping Hooker (Rita Montone)

The most infamous and graphically-violent scene was dubbed the "Disco Boy" sequence. One night, a couple making out in the backseat of a car in a parking lot near one end of the Verrazano Bridge were brutally executed. After spying on the couple, Zito jumped on the car's hood and fired into the windshield at the driver (Tom Savini) - the male's head was exploded with a direct shot from a 12-gauge double-barrelled shotgun. Blood splattered over the hysterical female Disco Girl (Hyla Marrow) - and she was also targeted, shot point-blank in the head.

Disco Boy's (Tom Savini) Head Double-Barrell Shotgunned in the Driver's Seat

Then, he started dating young British fashion photographer Anna D'Abroni (Caroline Munro) who took his picture in the park. Suspense was created during their seemingly-normal relationship - would he murder her too?

There were other misogynistic killing scenes, including:

  • in a masterfully-filmed, suspenseful scene, Zito stalked a young red-haired nurse (Kelly Piper) in a deserted subway station, and in the ladies room, he knifed her with a long bayonet from behind
  • Frank killed another female victim named Rita (Abigail Clayton/Gail Lawrence), one of Anna's models; he snuck into her apartment, grabbed her from behind in the hallway after her bath, and knocked her out; he bound and gagged her on her bed and engaged in a sick, one-sided conversation with her ("And now you're mine, all mine...I never wanted to hurt you, never"); she briefly and vainly begged not to be killed ("Don't kill me") before he knifed her across the throat with his switchblade ("I'm not going to kill you, I'm going to keep you so you'll never go away. I'm just going to keep you so you won't go away ever again"), and then scalped her for his collection

In the film's ultimate sequence, a baffling and over-the-top scene, Zito woke up in a sweat. He was nightmarishly attacked by his own anthropomorphic bloodied mannequins, who seemed to come alive and surround his bed. They grabbed his implements of death (shotgun, bayonet, knives, etc.), and first dismembered him (cutting off one arm), plunged a bayonet into his abdomen, and then decapitated him by ripping off his head. The next morning, police officers found Frank's corpse on his bed - he had apparently committed suicide after suffering from a nightmare about his mannequins murdering him. After the officers left after a few brief moments (without saying a word or touching anything, strangely), there was a lengthy shot of Frank on his bed -- and then a zoom shot into his eye when it opened! Was he not really dead?

A Nightmare? - Zito Decapitated and Dismembered by his Own Mannequins

Opening Scene: Throat Slitting and Garroting at the Beach

"Maniac" on the Loose

Affixing Trophy Scalps on Mannequins

The Subway Scene - Attack on Nurse (Kelly Piper)

Rita's Bathtub Scene Prior to Her Murder

Frank's Corpse?

Marathon Man (1976)


Marathon Man (1976) was a scary nightmare thriller - best known for the suspenseful pursuit scenes and truly repellent scenes of dental torture.

In two excruciating and grim scenes (the infamous torture scene was split into two segments), sadistic ex-Nazi death camp dentist Szell (Laurence Olivier) tortured tied-up, idealistic doctoral student Babe Levy (Dustin Hoffman) in a window-less room using probing and buzzing dental instruments on a tray.

In a chair, Babe was constrained while wearing a bathrope and striped PJ bottoms. After methodically washing his hands, Szell repeatedly and calmly asked the baffling question: "Is it safe?"

After causing intense pain with one of his ominous instruments by digging around inside Babe's mouth, Szell applied a dab of a medicinal liquid on his little finger to the affected tooth:

Is it not remarkable? Simple oil of cloves and how amazing the results. Life can be that simple; relief - discomfort. Now, which of these I next apply, that decision is in your hands, so, take your time and tell me. Is it safe?

During a second session of torture, Szell plugged in his loud-sounding, whirring drill (the horror was accentuated by POV shots). He threatened:

Oh please, don't worry. I'm not going into that cavity. That nerve's already dying. A live, freshly-cut nerve is infinitely more sensitive. So I'll just drill into a healthy tooth until I reach the pulp...unless of course you can tell me that it's safe.

Note: His question asked whether or not it was safe for him to go and pick up a hidden stash of diamonds stolen from Jewish concentration camp victims.

Babe screamed as the pain increased and then passed out. Szell spoke to his thugs: "He knew nothing. If he'd known, he would have told. Get rid of him."

Men Behind the Sun (1988, HK) (aka Hei Tai Yang 731)

This provocative and sickening documentary-style film (denounced by some as an exploitation film) from director T.F. Mou displayed some of the Japanese atrocities and perverse medical experiments committed toward guinea-pig human victims (Manchurian civilians).

They were held in Unit 731 (a biological warfare R & D unit) during WWII (and the Sino-Japanese War). It was claimed that Emperor Hirohito secretly ordered the inhuman lab experiments.

  • One atrociously graphic scene showed a Chinese woman forced to thrust her deliberately frost-bitten hands into hot water, and then having her flesh ripped off her hands to expose the skeletal bones.

  • In another sequence, a group of Chinese prisoners were tied to wooden crosses and subjected to aerial bombing - as part of a flawed experiment to expose and infect them with a biological disease.

It was also criticized for its use of actual autopsy footage depicting a drugged young boy whose organs were extracted from his body while he remained alive, and for another scene in which a live cat was thrown into a room and ripped apart by a swarm of hungry rats.

In a decompression or hyperbaric chamber sequence, intense pressure caused one man's intestines to shoot out of his anus.

Mirrors (2008)

French co-writer/director Alexandre Aja's supernatural horror film was an adaptation and remake of Sung-ho Kim's horror film Into The Mirror (2003, S.Kor.).

It told about the concept of reflections in mirrors that were haunted or possessed. They could taunt people and cause them to bring harm to themselves.

In the graphically-violent celebrated scene, a major set-piece, Angela "Angie" Carson (Amy Smart) - the sister of ex-alcoholic, and ex-NYC police detective Ben (Kiefer Sutherland), entered her bathroom and gazed at her reflection. When she turned away toward the tub, the reflection took on a malevolent and evil life force of its own and caused Angie to suffer harm.

After sinking into a bathtub, the actions of her reflected image in the mirror began to literally tear and pull apart her own jaws. She grabbed the sides of her mouth and slowly pulled them apart - causing massive hemorraghing and flailing about before she perished in her own bloody water.

Misery (1990)


Kathy Bates won the Best Actress Oscar for her sledge-hammer-swinging/psychopathic fan role in director Rob Reiner's blackish thriller Misery (1990) - another Stephen King adaptation (by William Goldman). Rescuer/nurse Annie Wilkes strangely idolized car accident victim and romance author-writer Paul Sheldon (James Caan) -- ("I'm your number one fan").

Sheldon had penned a series of books about a lovelorn 19th century character named Misery Chastain. Wilkes nursed Sheldon back to health in her place in Colorado. She was sane until she maddeningly learned that the writer had killed off the heroine character.

In an earlier tense scene, Paul frantically returned to his bed before Annie returned. Eventually, the obsessed Wilkes made a deranged, frightening decision to 'fix' things so that he would never try to run away.

In the very painful 'hobbling' scene, she explained how she could assure that her favorite captive author-writer Paul Sheldon would never leave her:

  • she placed a thick block of wood between his two ankles, took a huge sledge-hammer (she lifted it and said: "Trust me, it's for the best")
  • she blasted his left foot so that it visibly bent ("I'm almost done, just one more"), and then his right foot
  • after completing the horrible deed, she adoringly said: "God, I love you"

During a near-rescue scene, the Sheriff (Richard Farnsworth) was killed by a shotgun blast at the last moment.

However, in the concluding basement scene, Annie was planning on a double suicide-murder: ("You and I were meant to be together for ever. But now our time in this world must end. But don't worry, Paul. I've prepared for what must be done. I put two bullets in my gun, one for you and one for me. Oh, darling, it'll be so beautiful"), but Paul was able to trick Annie into getting a cigarette and second glass for champagne to celebrate completing the manuscript; he found an opportunity to bash her over the head with his typewriter, and although she shot him in the left shoulder, he was eventually able to stuff some of the manuscript into her mouth during a one-on-one fight, and then after tripping her, she fell and suffered a lethal blow to the head when she struck his typewriter.

In the haunting ending in a restaurant, a waitress told Paul: "I just wanna tell you I'm your number one fan" - causing Paul continued visions of a now-dead Annie still stalking him.

The Mothman Prophecies (2002)

Director Mark Pellington's X-Files-like horror film starred Richard Gere and Laura Linney. It was an eerie psychological thriller based on a legendary 'true' creature - with black wings, mothlike features and red eyes. The creature was based on true-life events in Point Pleasant, West Virginia that occurred in the mid to late 1960s.

John Klein (Richard Gere), a newspaper reporter researching the "Mothman" legend, had a series of chilling, mind-reading phone conversations in his motel room, with the inhuman, supernatural "Indrid Cold" (voice of Mark Pellington, the director) who could read his mind:

Indrid Cold: "Your father was born in Racine, Wisconsin. He lived in a green house on Monroe Street. You don't remember how your mother looked."
John: "OK, you got my attention. Where's my watch?"
Indrid Cold: "In your shoe - under the bed. Very good, John. Thank you."
John: "What's in my hand?"
Indrid Cold: "Chap Stick."
John: "You're reading my mind, aren't you? Did you read my mind?"
Indrid Cold: "I have no need to, do I?"

The most amazing mind-reading revelations were John's next conversation about a paperback book that he had, and the fate of his wife:

John: "What's the third line, page 51?"
Indrid Cold:
"'A broken smile beneath her whispered wings.' Still more proof, John Klein?"
John: "What do you look like?"
Indrid Cold: "It depends on who's looking."
John: "I want to meet you."
Indrid Cold: "You already have, John. I have seen you afraid. You're afraid right now, aren't you?"
John: "Can I ask you something?"
Indrid Cold: "Why ask me what you already know, John?"
John: "What happened, what happened to my wife?"
Indrid Cold: "You were there. Mary Klein cannot be found by looking. You will see her in time."

Mulholland Dr. (2001)

Best Director-nominated David Lynch's surreal, enigmatic, complex, puzzle-box, mind-bending, and unconventional film was about Hollywood, obsession and unrequited love, a contract hit, dashed dreams and suicide. It portrayed the twisting, and shifting identities of its two female protagonists, two femme fatales, each with two personas:

  • Betty Elms/Diane Selwyn (Naomi Watts), a wholesome, pert blonde Canadian ingenue and aspiring actress
  • Rita/Camilla Rhodes (Laura Elena Harring), a full-bodied amnesiac and bi-sexual, a dark-haired brunette and her blonde counterpart

In the modern film noir, both were caught in a nightmarish, Los Angeles web of corruption and death after opening the mysterious Pandora's Box with a blue key.

There were two startling, creepy appearances of a deformed, homeless-looking, dirty monstrous dumpster-dwelling crone/vagrant (Bonnie Aarons). Just before his first appearance behind Winkie's diner on Sunset Blvd., Dan (Patrick Fischler) hesitantly, in a long monologue (located at the 10-15 minute mark of the film), told his well-dressed friend Herb (Michael Cooke) inside the restaurant about a dream that they had both been in:

I had a dream about this place...Well, it's the second one I've had but they're both the same. They start out that I'm in here but it's not day or night. It's kinda half night, you know? But it looks just like this, except for the light. And I'm scared like I can't tell ya. Of all people, you're standing right over there - by that counter. You're in both dreams and you're scared. I get even more frightened when I see how afraid you are and then I realize what it is. There's a man in back of this place. He's the one who's doing it. I can see him through the wall. I can see his face. I hope that I never see that face ever outside of a dream. That's it.

He ended by saying that the dream gave him a "god-awful feeling" that he needed to get rid of.

Afterwards with a foreboding feeling of dread, the two left Winkie's and walked around the side of the restaurant, and descended some steps (shot with a POV perspective) - proceeding stealthily and cautiously. From behind a graffiti-decorated concrete dumpster wall, the filthy and repulsive vagrant briefly appeared to them in a quick flash - causing a great jump scare!

[Note: There was some resemblance between the faces of the Dan and the vagrant -- a long face, prominent nose, and high cheekbones.]

It scared Dan into a heart attack, and he fell backwards into Herb's arms.

Metaphorically, Dan's story was actually the shocking and terrorizing fear of many individuals, and specifically the plot of the film -- an aspiring Hollywood starlet named Diane, who had come with high hopes to make something of herself in the "city of dreams," failed, was on the verge of homelessness, and had sunk to levels of impoverishment and degradation before literally dying.

Later, the black-faced horrible figure also appeared in Diane's vision holding a blue box, right before and after Diane committed suicide.

The Diner Scene

Dan (Patrick Fischler)

Herb (Michael Cooke)

The Mummy (1932)

In director Karl Freund's classic horror film from the early 1930s, there was:

  • the scary sight of the face of undead, cursed Egyptian high priest Im-Ho-Tep (Boris Karloff in his second horror-starring role) who was embalmed in bandages and buried alive 3,700 years earlier (shown in a horrifying flashback sequence); he had been sentenced to the live burial for a forbidden act of sacrilege - for attempting to revive a sacrificed vestal virgin whom he loved named Princess Ankh-es-en-Amon (Zita Johann)
  • the frightening awakening and coming to life of the Mummy - Im-Ho-Tep was frighteningly brought to life (unearthed or raised from the dead) by a group of British archaeologists in 1921, including one foolish young researcher who read incantations from the ancient Scroll of Toth

After being resurrected, 10 years later, the Mummy lived under an alias as gentlemanly but sinister-looking Egyptian Ardath Bey. When he saw Helen Grosvenor (also Zita Johann), he believed that she was his reincarnated ancient princess; his objective was to kill her, then mummify and resurrect her, and finally make her his bride

In another scary scene:

  • Ardath attempted to kill Helen by plunging a sacrificial dagger into her stomach. He believed her to be the reincarnation of his long-lost ancient princess-love Anck-es-en-Amon from thousands of years before, and wanted to make her a "living mummy" like himself

The Mummy (1999)

The scariest scene of director Stephen Sommers' big-budget remake came after a battle scene with Imhotep's resurrected mummy priests. It was the final demise of:

  • Beni Gabor (Kevin J. O'Connor), cowardly and greedy

After gathering treasure for himself, Beni became trapped and entombed in a large underground vault, and quickly surrounded by a vast swarm of screeching, crawling, flesh-eating scarabs.

The beetles devoured him as the screen turned black when his torch extinguished.

Greatest Scariest Movie Moments and Scenes
(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

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