Adjusted Score: 102827% Critics Consensus: The Ballad of Buster Scruggs avoids anthology pitfalls with a consistent collection tied together by the Coen brothers' signature blend of dark drama and black humor. Synopsis: An anthology of six short films that take place in 19th-century post-Civil War era during the settling of the Old... [More] Starring: Tim Blake Nelson, Willie Watson, David Krumholtz, James Franco Directed By: Joel Coen, Ethan Coen决战三国武将我记得第一次听说LOL手游化的消息是在高一的时候，当时还和室友约好一起在宿舍开黑呢，结果TM大学都毕业了这游戏才出手游。但不管怎么说LOL手游试玩下来能明显感觉到和王者、平安京这类同类型手游相比区别还是蛮大的。
(Photo by ©Lionsgate courtesy Everett Collection)Sometimes, when a movie is set entirely in one location, it s a sure bet that the filmmakers were able to squeeze their budget for every penny, and you can tell that s the only logical reason why the characters seem unable to go anywhere else. But there are some movies that manage to use this limitation to great effect.In the case of thrillers or horror movies, the use of a single location can serve to increase the tension through a feeling of claustrophobia, something typically alleviated in other films by cutting away to a new location. One of the best examples of this is the 2010 film Buried, in which Ryan Reynolds plays an American contractor named Paul Conroy who is working as a truck driver in Iraq when he gets kidnapped and, well, buried in a wooden box somewhere in the desert.To mark its 10th anniversary, let s grab our Zippo lighters and Blackberry phones as we dive into what makes Buried so terrifyingly effective.It Wears Its Hitchcockian Influences on Its Sleeve(Photo by ©Lionsgate courtesy Everett Collection)The director of Buried, Rodrigo Cortés, cites Alfred Hitchcock as a major influence on the film, and it shows. The film begins with an extended credits sequence that instantly brings to mind the work of legendary graphic designer Saul Bass, who designed the credit sequences of many of Hitchcock s thrillers, like North by Northwest and Vertigo. From there, the movie utilizes some of the Master of Suspense s most effective techniques and adapts them to fit the more modern script, including the real-time suspense of Rope, the confined location of Lifeboat and Rear Window, and even the creative use of lighting that comes from the main character s phone and Zippo lighter, effectively contrasting the warmer hues of the latter with the cooler ones of the former.It s Incredibly ClaustrophobicYou d think that spending 95 minutes in a single, confined location would grow stale rather quickly, but somehow Buried manages to keep it feeling fresh throughout its runtime. The film rarely uses the same shot twice, and for the most part, it plays in real time, adding to the sense of dread as the clock continues to tick. As the story progresses, viewers are also introduced to new elements that threaten Paul, like a snake that finds its way into the coffin for a snuggle.Cortés and his cinematographer Eduard Grau compensate for the film s minuscule set by finding novel angles from which to shoot Paul s suffering. Multiple coffins were built for the film, allowing the camera crew to capture those impossible angles, getting as uncomfortably close to Reynolds or as far removed, as if we re seeing Paul from above the ground as needed. The resulting effect adds greater tension to the film, as it plays with the audience s expectations that Paul will manage to break free eventually.Ryan Reynolds Rises to the Challenge(Photo by ©Lionsgate courtesy Everett Collection)Ryan Reynolds had already dabbled in several genres by the time he made Buried, but he was still mostly known for romantic comedies like Definitely, Maybe and The Proposal. His intimate and emotional turn as Paul in Buried helped prove he had more than one ace up his sleeve.Because we never cut away to what s happening outside of the wooden box Paul finds himself in, the entire plot unfolds via various hysterical phone calls he makes to ask for help. These serve both to provide exposition for Paul s predicament (and the efforts to rescue him) and to function as vessels for the drama that slowly but steadily sketches the details of Paul s life. Reynolds has never been as believable or understated as he is in this movie, and the more we find out about his personal life — like tensions with his wife s friends, the death of his father, his mother s dementia — the more we realize Paul was dead inside long before he was trapped in the coffin.Single-location movies hang on the shoulders of its actors. Locke wouldn t work nearly as well as it does without Tom Hardy. Andre Gregory and Wallace Shawn make My Dinner with Andre more than just another banal conversation. Likewise, Reynolds delivers an incredibly raw performance in Buried, and it s because of him that the movie works.Its Sound Design Stands OutSince we don t get a lot of visual stimulation in Buried, the film lets sound do some of the heavy lifting to tell its story. We ve talked about how much of the plot is revealed through a series of phone calls, but sound designer James Muñoz brings Paul s suffocating world to life. The wood creaking, the sand falling in from holes in the lid, the burst of the lighter igniting, Paul s panicked breathing these sounds rise and fall in intensity with razor-sharp attention to detail to maximize their effectiveness in increasing the tension. The moments when Paul resigns himself to darkness turn even the slightest noise into an instantly bone-chilling encounter with the unknown.It Commits to Its Premise and Sticks the Landing HardThe problem with single-location movies is that, more often than not, they cut away from the main setting to give us a flashback, or allow the protagonist to escape their predicament halfway through in order to move the action to a new level. Buried doesn t do this. For 95 minutes straight, we are stuck in a coffin with Paul. No matter how many people he calls on the phone during the film s runtime, he is the only person we see. There is no flashback to his kidnapping, no cutaway to his weeping wife, no check-in with his captors, just Paul. This heightens the tension, as it plays with the audience s expectation that, at some point, we ll eventually see something other than the coffin, until we don t.Arguably the boldest decision the movie makes is not to rescue Paul. He dies as the coffin fills with sand, and the man in charge of rescuing him can only apologize over and over on the phone. The film literally never leaves Paul s side, and it ultimately cuts to the credits without a happy resolution. It s a risky choice not to offer any relief to the audience after watching this man suffer for an hour and a half, and if the unconventional nature of the rest of the film didn t already turn off some viewers, it s likely the ending did. But that choice is the only right one to make for a movie that spends its entire runtime subverting expectations; when the lights go up, we are all still trapped in that coffin with Paul, and the realization hits like a ton of bricks. That s the brilliance of Buried, one of the best single-location thrillers ever crafted.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
2.69.1 9月喜迎The Batman took a long time to take shape, but fans are finally starting to get the full picture of director Matt Reeves take on the character.At 2021 s DC FanDome event, fans of the oft-rebooted movie hero got a nice glimpse of what to expect from the film thanks to a new trailer. In it, the Riddler (Paul Dano) is taken into custody by the Gotham City Police. But that seems to have little effect on his bigger plan, which involves the Batman (Robert Pattinson), Selina Kyle (Zoe Kravitz), and local mobster Oswald Cobblepot (Colin Farrell). Its mix of Batman ’89 theatrics and Batman Begins realism may yet prove to be the right mix for this next iteration of the Caped Crusader.”At 2020 s DC FanDome, Reeves revealed the movie will take place in year two of Batman s crime-fighting career an assertion backed up in the trailer by the reveal of a Batsignal a period in which he is adjusting to his new life and Gotham is adjusting to him. An HBO Max series tentatively titled Gotham P.D. will focus on Batman s year one, and follow corrupt cops in the city s police department.Let s take a look at more of what we know about the movie from earlier reveals as well as the history of how the project came together.[Updated on October 16, 2021]How The Batman Became Untangled from the DCEU(Photo by Warner Bros. Pictures)Plans for the film began in 2014, when Warner Bros. had a massive, Marvel-style DC film universe in mind. An important pillar of that concept was Ben Affleck behind the cowl of the Dark Knight and in the director’s chair for a film called The Batman. It was to tie in to the character as he played it in Batman v Superman: Dawn of Justice and Justice League and would follow the events of both films. Affleck teased the arrival of the DC Comics villain Deathstroke to his tale by posting a costume test with actor Joe Manganiello under the mask. The actor was later set to play the character in the film and made a brief appearance in the Justice League stinger scene. Some reports suggest the film would have taken place inside Arkham Asylum.But then things began to unravel. Despite commercial success, Batman v Superman was perceived as a creative misfire even as cameras began to roll on Justice League – leading to a rethink of the film s plot. Warner Bros. asked Affleck to re-write his script for The Batman as the shape of the film universe changed alongside Justice League. In January of 2017, he had stepped down as director with Matt Reeves soon taking over. He also eventually handed script duties over to Reeves and Mattson Tomlin, leaving many to wonder if Affleck would even star in the picture.Almost a full year of speculation followed until Affleck, then dealing with a number of personal problems, set the record straight in January of 2019, announcing his complete departure from the project. And with that, the original vision for The Batman gave way to Reeves’ new take.The New Players: Robert Pattinson, Paul Dano, Zoe Kravitz, and More(Photo by Dee Cercone/Everett Collection)Even before Affleck’s departure was confirmed, many began to speculate about the seventh person to wear the cowl in a theatrically released, live-action film. Rumors began to circle around The Lighthouse star Robert Pattinson, who emerged as the favorite and eventually took the role in May of 2019.Over the course of the following months, a cast list began to emerge, including Zoe Kravitz as Selina Kyle (a.k.a. Catwoman), Jeffrey Wright as Jim Gordon, and Paul Dano as the Riddler, whose civilian identity in the film, Edward Nashton, is a one of his known aliases in the pages of DC comics. Over the Fall of 2019, Colin Farrell signed on as Oswald Cobblepot and Andy Serkis also stepped up to take over as Alfred Pennyworth from Jeremy Irons, who had played the character for Affleck s Batman. Other cast members include John Turturro as Carmine Falcone, Peter Sarsgaard as District Attorney Gil Colson, Con O’Neill as Chief Macheknize Bock, Alex Ferns as police commissioner Peter Savage, and Jayme Lawson as Bella Reál. Teen Wolf’s Max Carver and Charlie Carver also joined the cast, leading some to suggest they may play Batman rogues Tweedledum and Tweedledee.Behind the camera, Reeves’ crew includes director of photography Greig Fraser, editors William Hoy and Tyler Nelson, production designer James Chinlund and costume designer Jacqueline Durran. Reeves is producing the film alongside Dylan Clark while Simon Emanuel, Walter Hamada, Chantal Nong, and Michael Uslan serve as executive producers. Michael Giacchino is set to score the film.At DC FanDome 2020, Reeves teased that, just as Batman is still finding himself in the movie, so too are the rogues gallery of villains we meet. As seen in the trailer, when we first encounter Selina Kyle, she s not Catwoman; ditto Farrell s Oswald Cobblepot, who s destined to be crime kingpin, the Penguin.From that list of cast and crew, a sense of The Batman began to emerge… as did a potential source of its story.The Long Halloween: A Serial Killer Stalks Batman and Gotham(Photo by DC Comics)Though Reeves referred to the plot as an original story from the moment he began answering questions about the film, the number of villains and supporting characters in the cast left many to wonder if it might be taking inspiration from Batman: The Long Halloween by Jeph Loeb and Tim Sale.Set after the events of the seminal Batman: Year One storyline, it sees Batman attempting to learn the identity of a serial killer known as Holiday. It also accomplishes a few other things, like chronicling the year mobsters lost control of Gotham City to the costumed supervillains. The 13-issue miniseries was followed up by Batman: Dark Victory and Catwoman: When in Rome, which saw Loeb and Sale return to some of The Long Halloween’s ideas, including the continuing deterioration of Gotham s organized crime families.But the key to The Long Halloween was its expansive cast and Batman encountering a mystery he could not easily crack.Early on, Reeves said he wanted to emphasize Batman as the world’s greatest detective – an element of the character generally downplayed in the more action-oriented Batman and Dark Knight film cycles – while also playing up the noirish elements inherent in the concept. Reeves said at DC FanDome 2020 that noirs like Chinatown have been a big inspiration for his approach to the material. Additionally, the costume test video of Pattinson in the batsuit and the Batmobile pictures clearly illustrate Batman during an early part of of his career, making the case for The Long Halloween as a primary source stronger.(Photo by Warner Bros.)It would not be the first time, though, the book was called upon as a source of inspiration or, indeed, the first time a Batman film used one of the better-known Batman stories in its development. The Dark Knight used one or two elements from the story while also grabbing from The Killing Joke. The Dark Knight Rises also pulled from the “No Man’s Land” story. But this should not suggest The Batman is a straight adaptation of The Long Halloween, as someone key to that story is missing from the film: Harvey Dent.The Long Halloween is also a Two-Face origin story that sees him promoted to Gotham City DA near the start of the story and, well, somewhere else by its conclusion. In lieu of Harvey, Sarsgaard plays Gil Colson, an original character for the film. Curiously, before Sarsgaard’s role was confirmed, some suggested he might be playing Harvey Dent, while yet others noted the character s name bares a resemblance to that of a corrupt Gotham Police officer who helped Two-Face in an episode of Batman: The Animated Series. For the moment, we’re inclined to believe Sarsgaard is, in fact, playing a wholly new character with no ties to Gotham’s most famous lawyer.This suspicion also extends to Lawson’s Bella Reál, another new character said to be running for mayor in the film. As with DA Colson, we’re willing to accept this as the truth until presented with evidence that she is really Barbara Gordon or Poison Ivy.Making these obscure ties less likely, though, is the trailer released during the 2021 edition of DC FanDome. Based on the story hooks teased in the newer preview, the mystery plaguing the Batman is engineered solely by the Riddler, making him the key villain in a Batman film for the first time since 1995’s Batman Forever., in which he was portrayed by Jim Carrey. Granted, he shared his murderous plot in that film with Two-Face (Tommy Lee Jones). Nevertheless, it seems more likely The Batman will take thematic ideas from The Long Halloween and leave most of its plot within its pages.The Look Of The Batman(Photo by @mattreevesLA)As with Joker, Warner Bros. made the choice to debut The Batman’s key costume in a short video before any paparazzi had a chance to shoots pictures of it on location. Seen through darkness and red light, the suit seems to employ a more bare-bones, off-the-shelf aesthetic. The body armor continues Batman ‘89’s basic design choice, but a cowl made of fabric sets it apart from all other cinematic Batmen. Some have also speculated the bat symbol is made of the gun Joe Chill used to kill the Waynes. It’s all pretty interesting even if the video makes it look a little too much like Daredevil’s costume. Subsequent set pics also offered a better look at the cowl, which may be inspired by Silver Age comic book artists like Dick Sprang and Carmine Infantino.At DC FanDome 2020, Reeves said that the fact this is only year two of Batman s career heavily influenced the design of the costume: Wayne built it himself, he s making adjustments, you can see the gashes from his scuffles on the suit.In March of 2020, Reeves unveiled the first look at the Batmobile. Eschewing the more outlandish design conventions established in Batman ’89, this car is, in fact, a muscle car with some obvious modifications. Long-time readers of Batman comics may even recognize the broad strokes of the design as the one Batman used through most of the 1980s and into the 1990s. The new Batmobile design continues the notion that Pattinson’s Bruce Wayne merely modified existing gear instead of inventing Bat-gadgets from whole cloth and, if nothing else, is an interesting departure from the previous Batman film cycles, particularly the tankish Tumbler and Justice League Batmobile.Ahead of the DC FanDome event in 2020, Reeves revealed even more in a Twitter post debuting the film s logo and FanDome-specific artwork:Excited to share the very first look at our official #TheBatman logo, and some very cool additional #DCFanDome artwork by the amazing @jimlee — see more of #TheBatman at the #DCFanDome global event in the Hall of Heroes this Saturday, 8/22! #TheBatman #DCFanDome #ForTheFans pic.twitter.com/ApfngNbyor Matt Reeves (@mattreevesLA) August 20, 2020Its Place In The DC Film Universe(Photo by Niko Tavernise/© 2019 Warner Bros. Entertainment Inc. All Rights Reserved. TM & © DC Comics)Despite all the tell-tale markings of a reboot, The Batman’s place in the loose continuity of Warner Bros s DC film slate is still up for debate. During the early phases of development, Reeves suggested it could take place out of continuity like Joker, but quickly backpedaled to say it will have some ties and maybe even a cameo or two. At the same time, recasting Jim Gordon, who was played by J.K. Simmons in Justice League, with Wright also suggests the film is in a world all its own. But then again, the DC Universe is a place where world-changing events create convenient retcons. Pattinson could simply replace Affleck’s Batman in the new DC film reality where Wonder Woman (Gal Gadot) co-exists with Harley Quinn (Margot Robbie) and the Suicide Squad of 2021. Is all depends on whether or not Reeves would be interested in utilizing any of those ideas or, indeed, if Pattinson would want to bring his Batman to play with the other DC film heroes.The film will be released at the beginning of a full roster for the DC film universe, which includes The Flash, Aquaman and the Lost Kingdom, and Black Adam. We wouldn’t put it past Warner Bros. to try to connect them all to The Batman, but we won’t be disappointed if they remain separate. In the meantime, though, the principal cast is expected to return for at least two sequels to The Batman.The Batman is currently scheduled for release on March 4, 2022.Thumbnail image by Warner Bros. PicturesOn an Apple device? Follow Rotten Tomatoes on Apple News.
It’s almost impossible to imagine that Owen Wilson initially didn t think he should act in 1996 s Bottle Rocket. From the very first scene, in which his character Dignan oversees an escape plan for his friend Anthony (Luke Wilson), who’s casually checking out of a voluntary psychiatric hospital, you’re sucked in by his energy, a weird mix of motor-mouthed enthusiasm and childlike wonder and sensitivity.But Wilson had a point. As the film’s co-writer, Bottle Rocket was his baby — the other parent was co-writer and director Wes Anderson, a friend he met at the University of Texas at Austin — and his one shot. Perhaps he wanted to ensure the duo’s unique sensibilities were not muddied by the compromises that would inevitably come when first-timers make a big studio-backed movie. Maybe he figured starring in front of the camera and doing quality control behind it would be too much to take on. (This worry wasn’t unfounded: Bottle Rocket, which started shooting in 1994 and didn’t hit theaters until two years later, was plagued with rewrites, reshoots, and post-production woes.)The film follows Wilson’s wannabe-thief of a ringleader as he and his zen-like friend Anthony and their rich pal Bob (Robert Musgrave) — three people who have no business breaking bad — pull off jobs to fall into the good graces of a bohemian crime boss (James Caan). While on the lam at a motel, Anthony, who doesn’t speak Spanish, falls for the only person he thinks understands him, Inez (Lumi Cavazos), who doesn’t speak English. Bottle Rocket is full of absurd setups like this, but somehow feels grounded and gentle, with an assured, invigorating directorial style. So to celebrate it turning twenty-five — Bottle Rocket was released in theaters on February 21, 1996 — and in anticipation of Anderson’s upcoming The French Dispatch, here are five reasons it remains special.Audiences Mostly Didn t Get It But the Right People Did(Photo by Deana Newcomb/©Columbia Pictures courtesy Everett Collection)Martin Scorsese picked Bottle Rocket as one of the ten best films of the 1990s. James L. Brooks liked the short “Bottle Rocket,” which played at Sundance, so much that he flew down to Dallas to meet “the boys” in their “flop” — his words — and greenlit the feature, which was put out by Columbia Pictures. Paul Schrader said he’d never seen a character like Dignan onscreen before — high praise from the creator of Travis Bickle. And Walt Disney Studios chair Joe Roth saw enough in Anderson and Wilson to bankroll their follow-up, Rushmore, for double Bottle Rocket’s budget.But audiences, particularly the ones in test screenings, didn’t share that enthusiasm. “I’d never felt so humiliated,” Anderson recalled in the Criterion Collection commentary for Bottle Rocket, reliving a screening when dozens left the theater before the credits rolled. What’s more, Bottle Rocket didn’t get into Sundance, the festival that screened the original “Bottle Rocket” short to acclaim. “It was kind of like the end of the world,” Anderson said of the snub in Matt Zoller Seitz’s book The Wes Anderson Collection. When the film finally did come out, it pulled in roughly 0 grand at the box office, or about a tenth of its budget.It Introduced Us to the Brothers WilsonCritics, however, dug Bottle Rocket, which is Certified Fresh at 85%. A big part of the appeal back in ’96 was that it debuted these fresh-faced unknowns, Owen and Luke Wilson, who are both arresting in their own ways. Over the next decade, Owen and Luke would go on to become a comedic powerhouse and something of a kind-eyed leading man, respectively, and you can already see them playing to those strengths here. The two have an undeniable chemistry, with Luke’s more level-headed Anthony trying to temper — and inevitably indulging — the unrealistic expectations of Owen’s Dignan. Five years later, they would offer a more drama-tinged spin on this dynamic as another pair of brotherly longtime friends in The Royal Tenenbaums. It’s also worth shouting out Andrew Wilson, Owen and Luke’s older sibling IRL, who plays Future Man, the bullying brother of Bob in the movie, for his comic chops.The Dialogue Is Loose, Fast, and QuotableWes Anderson has made a name for himself with his stylized visual calling cards, yes, but also his dialogue, which tends to feature lines that drip with irony, often delivered after pauses. Those lines are in Bottle Rocket — Dignan’s declaration that “Bob’s gone; he stole his car” springs to mind — but those deliberate beats are less prevalent. There are two scenes — a walk-and-talk before a “practice job” and an argument while planning a bookstore robbery — when the characters talk over each other in a way that feels naturalistic and almost a bit improvised. But the constant throughout, whether Anderson lets a line linger or not, is that Bottle Rocket’s script stays buoyant and truly funny. We’re partial to this exchange, when Dignan tries to ease a distressed Anthony with a picture of Mr. Henry’s crew:DIGNAN: Fact: I learned more in the two months I spent with Mr. Henry and his crew than I learned in 15 years of academic study. Fact: I can guarantee you after Mr. Henry sees us pull this job, he’s gonna take a personal interest in our future. Fact: Mr. Henry drives a Jaguar. ANTHONY: Fact: Dignan, the picture’s not doing it for me right now. DIGNAN: Well, does the fact that I’m trying to do it do it for you? It Hints at What s to Come from Wes Anderson(Photo by Deana Newcomb/©Columbia Pictures courtesy Everett Collection)About that style: Bottle Rocket isn’t as in-your-face with the Wes-isms as his later work. You won’t find any backdrops as meticulously designed as Margot’s bedroom in The Royal Tenenbaums or any breakdowns as breathtaking as the ship’s in The Life Aquatic with Steve Zissou. But his penchants are on display. There are some choice needle drops of ’60s songs (the Rolling Stones’ “2000 Man,” Love’s “Seven and Seven Is”), as well as a slow-motion walk, a letter read aloud, a “binoculars” shot, references to inspirations like The 400 Blows, and other ingredients he’s synonymous with now.It Maintains an Indie/Outsider Spirit(Photo by ©Columbia Pictures)For all of its stylistic confidence, Bottle Rocket feels like you re watching a group of friends make a movie. To be fair, that s not far off base: Anderson, the Wilsons, Musgrave, and supporting actors like Kumar Pallana and his son, Dipak, were pals. Some were occasionally roommates. Scenes were shot at St. Mark s, where the Wilsons attended and from which Owen was expelled. Bottle Rocket has an intimate, singular quality you don’t always get from a big-budget film. And while Anderson’s canvases would grow a lot bigger in subsequent films, something from Bottle Rocket would always remain a constant: stories that pull for underdogs, and outsiders that exist in their own little sealed-off worlds.Bottle Rocket was released in theaters on February 21, 1996.On an Apple device? Follow Rotten Tomatoes on Apple News.
Why is Mindhunter Season Two Better Than the First?Certified Fresh at 100% on the Tomatometer, critics say Season 2 of MINDHUNTER is even better than the first. Do you agree?Posted by The Rotten Tomatoes Channel on Tuesday, August 20, 2019Netflix s hit crime series Mindhunter was a legitimate success when its first season debuted on the streaming service in 2017, earning a Certified Fresh 97% on the Tomatometer and generating a ton of fan discussion. Eager viewers have had to wait almost two years for the next chapter in the story, but by almost all accounts, the new season is more than worth the wait. Season 2 is Certified Fresh at a whopping 100%, and both fans and critics say that it s actually even better than the first, from its deeper exploration of the lives of some of its key characters to the spot-on portrayals of notorious serial killers on the show.We take a look at the popularity of the series and why Season 2, which premiered on Netflix on August 16, has resonated so deeply with fans on our new show The Ketchup, where we break down all the latest movie and TV news and what it means to you. Watch the video above and let us know in the comments whether or not you agree that Mindhunter Season 2 is better than Season 1!Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 神途金牛火龙版是一款玩法非常刺激的火龙版本是传奇手游，这款神途金牛火龙版的设计非常的用心，画质超级的棒，而且武器和装备都非常的炫酷!可以以一敌百，高属性的战斗力更强大，还有海量BOSS等innings来挑战!
When you re a kid, every movie is a transporting experience, like peeking in a keyhole to some new reality beyond. You feel the fun, the joy, the wonder. And sometimes the shattering terror. The monsters you had imagined creeping the corners of your mind or darkened bedrooms prowled in full horror on the screen. The awful, awe-inspiring power of witnessing something frightening can reverberate for decades. So in the spirit of Halloween, we asked 12 Tomatometer-approved critics to tell us about the movie scenes they watched as children that scarred them for life. Here are their answers.What movie scenes scared the s t out of you as a kid? Tell us in the comments. Stranger in the House (1974) 71%(Photo by Warner Bros.)The scene: The killer gives our final girl the evil eyeThe scare: The climactic scare in this groundbreaking slasher is really the culmination of a series of scares that assault the senses, beginning with the panicky moment when the police call college student Jess to reveal that the shrieking, barely human obscene phone calls to her sorority house have been COMING FROM INSIDE THE HOUSE! Then, there’s her nerve-wracking decision to employ “horror victim logic” and venture upstairs to check on her sleeping (read: dead) friends rather than heading out the front door. And when she enters the bedroom to find her deceased sorority sisters, the sight of the killer’s rabid, maniacal eyeball peering through the crack in the door as he whispers to her “Don’t you tell what we did!” is the stuff of nightmares. This was one of the first horror movies that drew me into the genre as a kid and made me appreciate the power of fright, and after seeing it, I understood why people would want to dream of a white Christmas. Mark H. Harris, BlackHorrorMovies.comE.T. the Extra-Terrestrial (1982) 98%(Photo by Universal)The scene: E.T. is dyingThe scare: Easily the most horrific visual I ve had seared into my brain involves E.T. when he s sick. He s scary enough as-is, and once his skin turns papery white and blotchy, he looks like a diseased liver stretched over a child-sized nightmare. I ll take Sadako, It, or Chucky over E.T. any day, yikes. Li Lai, Mediaversity ReviewsThe Exorcism of Emily Rose (2005) 44%(Photo by Screen Gems/courtesy Everett Collection)The scene: In the barnThe scare: I was 11 when The Exorcism of Emily Rose was released in September 2005. I remember a friend of mine talking about it, mentioning how she had seen it in theaters that weekend. My exposure to the horror genre was pretty much non-existent at that point, so perhaps Emily Rose was the first of the genre I had ever seen. Needless to say, it ruined my life. Now scared of sleeping in the darkness of my own bedroom, I slept on the floor of my mom s. This lasted for quite some time, maybe a year, which resulted in me having to see a therapist. The scene that scarred me the most is definitely the barn scene. I remember it vividly. Emily, possessed, is growling, screaming in tongues, flailing her arms, and looking upon Father Moore with blackened eyes. Father Moore is commanding the demon inside Emily to say its name, but there isn t just one demon: there are six. We are the ones who dwell within, they say, as they begin to state their names, with actress Jennifer Carpenter using a different tone and language for each: Cain, Nero, Judas, Legion, Belial, and Lucifer. When she says Lucifer, it s particularly frightening, as a faint light flickers in her eyes. The eyes of an animal peering at you through the dark. Sara Clements, @mildredsfierceGhostbusters (1984) 97%(Photo by Columbia Pictures)The scene: Quiet in the libraryThe scare: Ghostbusters might be a definitive comedy classic, but the ghostly librarian is the stuff of nightmares. At least it was for me as a child. The dark, maze-like rows of bookshelves and eerie quiet was atmospheric enough. Even more so when the books and index cards moved on their own accord. But there was no mentally preparing for the ghastly wrath of the librarian. I screamed along with Peter, Ray, and Egon. Still to this day, I’m petrified to make even a peep when stepping foot inside a library. Meagan Navarro, @HauntedMegThe Great Mouse Detective (1986) 80%(Photo by Walt Disney Pictures)The scene: Fidget kidnaps OliviaThe scare: An animated Sherlock Holmes-esque detective story starring a mouse is not something that instantly screams “horror.” But The Great Mouse Detective knows how to build a mystery and a tense atmosphere, culminating in the terrifying scene where tiny little Olivia (also a mouse) finds herself drawn to a toy baby crib. As ominous yet playful music builds up to a big reveal, Olivia approaches the crib and pulls on the cover to reveal an evil and scary bat that takes her for a hostage just as the music changes to resemble the screeches from the shower scene from Psycho. Rafael Motamayor, @rafaelmotamayorJaws (1975) 98%(Photo by Universal)The scene: The head in the boatThe scare: The day I saw Jaws on VHS in my dad s basement, I had spent the previous week convincing myself I would be terrified. All the stories from its theatrical run talked about audiences fainting, and I was sure I would freak out. Well, the self-hypnotism worked: When Hooper goes underwater and the head pokes out from the bite in the boat, I remember practically vomiting in fear. For a month afterwards I was terrified of any water, even my morning shower. I was convinced the shark would come out of the spout to attack me! Summer vacations in the East Coast of Canada where I learned to swim had the same murky salt water as Amity Island, and I d look out convinced I d see the dorsal coming my way. Jason Gorber, @filmfest_caA Nightmare on Elm Street 4: The Dream Master (1988) 52%(Photo by New Line Cinema/courtesy Everett Collection)The scene: Joey s aquatic demiseThe scare: My first experience with the A Nightmare on Elm Street franchise was flipping through channels on TV and landing upon this scene. I was too young to watch a Nightmare film but also old enough to be fascinated by the mystique and terror surrounding them. Watching Freddy manipulate Joey and then burst through the bed had an indelible effect on me. It was my first experience with a horror movie and the terror it elicited was the foundation upon which my love of the genre was built. 1 2 Freddy s coming for you Jonathan Barkan, @JonathanBarkanThe Others (2001) 83%(Photo by Dimension Films/Courtesy Everett Collection)The scene: The face behind the veilThe scare: The scene where Grace (Nicole Kidman) interrupts her daughter Anne playing with toys while her head is obscured by a veil, only for Grace to then see a withered elderly face staring back at her from beneath the sheet, left me traumatized for nights afterward. I didn t look at curtains or any kind of hanging fabric in the same way for a while after that. The mixture of youthful innocence with the complete opposite end of the human life cycle was such an unsettling union for me and it still is. Lewis Knight, @ThatsOurLewisPet Sematary (1989) 51%(Photo by Paramount Pictures)The scene: A tendon momentThe scare: Pet Sematary confronts death and explores grief in ways I just wasn t used to given my identity in a culture that isn t necessarily afraid of it. But while there are many scenes that make that film an annual rewatch for me, the Achilles tendon scene is in fact THE scene that affected me the most as a child. Hiding under the bed, a reanimated Gage slices Jud s Achilles tendon as he approaches. You can see the deep wound and Jud s ankle split in detail as he falls. That one scene made me long -ump to the bed for months. And after rewatches, it still makes me shiver as I get ready to go to sleep. Kate Sanchez, @ohmymithrandirPoltergeist (1982) 86%(Photo by MGM/courtesy Everett Collection)The scene: Suburban invasionsThe scare: The Freeling family always reminded me a bit of my own – the suburban surroundings, the copious amounts of Star Wars toys that littered their home – and that made Poltergeist, despite all of the supernatural shenanigans, all too real for me. When that tree attacks Bobby, or when the skeletons emerge from their pool, as a young man, I felt like any of that could happen to me. Just the mere mention of the film’s title was enough to send shivers down my spine until I was a teenager. To this day, if I have it on too late at night, I have second thoughts about heading down to the basement. Mike Vanderbilt, Daily GrindhouseReturn to Oz (1985) 54%(Photo by Walt Disney Pictures)The scene: A hallway of headsThe scare: The unofficial sequel to MGM’s Wizard of Oz, Walter Murch’s Return is a far cry from the brightly-colored 1939 musical. Not only does it have a much darker and fantastical narrative, this scene perfectly encapsulates why the film is the stuff of nightmares. In a bid to avoid being decapitated, Dorothy (Fairuza Balk) has to steal the Powder of Life from Princess Mombi (Jean Marsh) to escape. Unfortunately, she has to walk almost silently through a hallway of sleeping heads – and in full view of them – to get the powder. For extra pressure, it is placed inconveniently next to Mombi’s (real) head. Combined with David Shire’s powerful score, the slow-brewing tension from Dorothy’s delicate approach is blown apart by the ensuing screeching of multiple heads, not to mention being chased by a headless body. The whole sequence is terrifying as an adult but it’s horrifyingly out of place in a kid’s film – which is why it scars you for life. Katie Smith-Wong, @guitargalchinaThe Shining (1980) 84%(Photo by Warner Bros.)The scene: The woman in the bathroomThe scare: I refused to take a bath for a week. When I was seven, my father – much to the protestations of my mother – let me watch Stanley Kubrick’s The Shining. When Jack Nicholson walks into that lime-green bathroom only to find the decrepit, rotting ghoul of an elderly woman cackling at him after he danced with and kissed her younger specter, I leapt as high as her laugh, and haven’t come down since. Robert Daniels, @812filmreviewsLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.