Name: Scariest Movie Moments of All Time
Uploaded: 2017-09-16T14:55:19.000Z
Duration: 14 min 4 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

There's nothing that makes you want to sleep with the lights on more than a good old fashioned scary movie.

We took a look at some of these scenes that did it best.

These are our picks for the seven scariest moments of all time kicking us off at number seven.

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 says to us on some deep subconscious level.

Think insidious is from behind a head Friday the 13th.

The descent in the darkness carries below ground.

The fellowship of the rings right in front of us and even the cabin in the woods title.

However, for number seven, we've got to give it to Jaws, 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 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.

So when one does emerge, it's all the better.

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.

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 ambiguity into the mix.

It's the bathtub in Lady Aoli, the hallway in nos frau the basement in silence of the lands and the ending of wreck.

And while those all make us wet our collective drawers, we think that Zodiac takes the wet drawer kick.

The handwriting is the closest that we have ever come to a match.

I won't, I won't take any more of your time.

Why don't I just go and find out when we play that film?

It's not a problem just down in the basement.

Not many people have basements in California.

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 of a sudden, Bob Vaughan starts ticking all the clue boxes, we can't help but recall that terrifying reputation he now might possess while 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 an audio.

We think the reason it's so effective is that while we might be yelling, don't go down there.

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've 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 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.

It's usually hidden away in the way the story is told.

It's the imperceptible, an inexplicable shift in the music.

It's the shot that's holding way way too long.

It's the meta narrative 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 most of the entirety of the Blair Witch project.

It's the hospital scene in Exorcist three.

It's every part in a movie where the horror strings swell for no goddamn reason other than that's what they do.

However, our favorite version of this might just be the diner scene from Mulholland Drive.

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 it, 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.

Us no reason to fear anything except that we do with the reverie sound creeping drone and lingering POV camera.

He gives us subtle emotional cues to feel uneasy.

So when the jump scare at the end confirms our nonsensical fears, it turns our whole world upside down.

Moving forward to number four, we're turning away from those scares that play with our expectations and anxieties.

And instead looking at the ones that frighten us on a primal level.

And first up, we want to 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 plays on our basic fear of mutilation are repressed, denial of the fallibility of our body.

It's the distorted figure like in Jacob's Ladder, the others safe in the Dark Crystal.

It's torture porn like eyes without a face, martyrs, misery or human centipede.

It's body horror like American werewolf in London.

The thing Tetsuo eraserhead video drone and Pinocchio.

We think it's gotta be the demonic perversion of a little girl from the exorcist shit.

I love um oh my God, that the exorcist is brilliant with its body horror because it's not as much the form of the human body that's distorted but its 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 the 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 dreadfully horrifyingly 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.