![]() In my opinion, a truly effective jump scare should be able to pass through all five levels of inception. (Haydn’s “Surprise” symphony got the jump on them all, in 1792.) But the first one that made any impression on me, at at impressionable age, is the climactic bathtub scene near the end of Clouzot’s “Diabolique” to that point, I found the film dull, but I’ve never forgotten that jolt, or the second shock in quick succession that sustains the jump as if holding its breath in mid-air. Richard Brody The New Yorker “Diabolique”įrom the start of my movie days, I’ve preferred jump cuts to jump scares, which are generally easy tricks underlined by a blunt music blast. ![]() It remains an utterly crazy yet effective sequence. ![]() I think I was shocked into silence at that moment. As she crawls closer and closer to the screen, never was I thinking that she was going to actually come out of it and into Noah’s living - essentially crossing the boundary between horror footage and reality. We finally see more than the relatively harmless well scene we’d seen several times before in the movie, so just like Noah (Martin Henderson), we’re watching the screen intently to find out more about what happened to Samara. It was everything about that moment in the movie. I just remember watching the movie for the first time the year it was released and the scene when Samara crawls out of the TV screen. While it’s certainly not the only great one, “The Ring” jumps immediately to my mind. Candice Frederick Harper’s Bazaar, IGN, /Film “The Ring” Both instances were very effective in the theater as a shared experience with the rest of the audience (so I hear with “Wait Until Dark,” but I did experience that with “Signs”) as well as the people on screen. That identification with the character makes us even more aware of what’s just happened to us. When Joaquin Phoenix is watching a clip on TV and the alien first walks into view, we jump and he jumps at the same time. Night Shyamalan’s similarly set, similarly small-scope alien invasion thriller. As far as the fear of having limited senses goes, the moment is right there with Millicent Simmonds’ deaf character in “A Quiet Place” being suddenly stalked by a creature she can’t hear and doesn’t realize is behind her. But then he grabs her leg and shares our screams. The first is when Alan Arkin jumps out from the darkness in “Wait Until Dark.” The audience gets the scare a second before Audrey Hepburn does, because of her blindness. And they both have very different effects on the characters, which I find interesting. Two jump scares come to mind that are relevant to “A Quiet Place,” actually.
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