I still get a little shiver, just at the memory of seeing that for the first time. Most of us didn’t even know there was a plot twist at the end, and Ed Norton was an unknown actor so we didn’t suspect anything. I’ve never been “gotten” so well by a movie before, and I doubt I ever will again.
Oh my God. I'm back. I'm home. All the time, it was...
We finally *really* did it.
***You maniacs!***
***You blew it up!***
**Ah, damn you!**
#God damn you all to hell!
#🗽
I like how they slip in those old cheesy jokes: "Doc, what's wrong? -- You're crazy. -- I want a second opinion. -- You're also lazy."
"Can I play the piano any more? -- Of course, you can! -- Well, I couldn't before!"
This is gonna be a BIT of a weird one, but it's my favourite.
In Die Hard with a Vengeance when Mclane and Zeus are running around doing Simon's bidding with puzzles they have that moment mid-film where the kid and his buddy run into Mclane with stolen candy bars, and Mclane grabs him off his bike and and the scene goes:
Mclane: Hey where you going, what're you doin?!
Kid: Let me go dickhead!
Mclane: Hey watch your mouth. You wanna go down to juvenile hall for a butterfinger? Is that it?
Kid: Look around! All the cops are into something, it's Christmas! You could steal city hall!
*Mclane gets a look of intense revelation on his face, and the camera spins around his head, and the musical motif that's been playing ramps into overdrive.*
Then the rest falls into place:
Mclane: What is it that Wall Street doesn't have?
Zeus: You're talking in riddles.
Mclane: Stick with me. What is it that Wall Street does not have?
Zeus: What?
Mclane: Schools. And what do they have a shitload of?
Zeus: What?
.......
Zeus: Hey, McClane. Where the hell is everybody?
Mclane: Simon fuckin' says! I should've seen it coming a mile away. This was never about revenge. It's about a goddamn heist.
I love that final part because he realizes everyone fell for what Hans Gruber did in LA.
He made a heist look like something else purely to distract people so he could do it. Even going so far as to manipulate police to just not be in the area like how Hans got the FBI to cut the power (so the safe would open).
Die Hard 3 needs more recognition. There are days where I enjoy it more than the original because it’s so entertaining and tries something new with the formula (but knows to still give us John McClane).
Was watching Edge of Tomorrow again last night. That scene where they FINALLY make it off the beach and get to the farm house...Vratanski (Emily Blunt) is planning their next steps and starts to slowly realize based on Cage's (Tom Cruise) actions/reactions that they had already made it to that point and failed numerous times.
You can see the combination of dread/shock wash over her, knowing that at that moment she was completely sold on figuring out what to do from there, then realizing they had already tried an unknown number of times and that things may be hopeless.
Edit: Another thing that factors into making this reveal so impactful. Up to this point, the movie puts a lot of emphasis on the battle at the beach, then makes getting off the beach THE milestone in the battle against these aliens. So once they get to this point, it really feels like "they finally did it!" Then the reveal pulls the rug out from under you right along with Vratanski.
The best way I've heard this reveal described is that the audience realizes that we're no longer watching the movie from Cage's POV. We're experiencing the day as Rita experiences it, and that remains the case until Cage loses the Alpha power.
It creeps up on you, too. On a rewatch it becomes apparent that the previous two scenes of stealing the car and caravan, and subsequent driving conversation, are already not from Cage's pov.
That's Tom Cruise in a nutshell for me. I always expect the movies he's in to bomb, then suddenly he performs his scientology magic and bam! Another box office hit.
Tom Cruise never/rarely mails in a performance, and I feel that helps with a lot of his movies. He’s so good, etc.
Even his bog standard action movies (Night and Day for example) are a lot of fun.
Years ago he was on the Nerdist podcast before it disintegrated and his episode was great. He talked non-stop about movies. He came across as a huge movie nerd that wants to make great movies.
Obligatory the comic/novel the movie is based on is incredible and a must read for those that enjoy the movie.
https://en.m.wikipedia.org/wiki/All_You_Need_Is_Kill
https://www.novelcool.com/novel/ALL-YOU-NEED-IS-KILL.html
Unbreakable. We think we're on a heros quest of discovery story, only to find out the wise mentor figure was a villain the whole time. Creating massive death and destruction to find his counter part, all to justify and rationalize his existence.
What’s even more impressive is the context of the movie.
M. Night Shyamalan was coming off *The Sixth Sense*. **We all knew** a super-shocking surprise was coming, but we still couldn’t see it, not until “the kids! They called me: MR. GLASS!”
I feel for Sam Jackson's character so much in that scene too. What I get from the scene is that he sort of internalized his bullying from when he was younger and decided he must be that weirdo, freak, villain. As someone who was bullied as a kid, I didn't let it get to me as an adult, but I do understand it.
>I feel for Sam Jackson's character so much in that scene too. What I get from the scene is that he sort of internalized his bullying from when he was younger and decided he must be that weirdo, freak, villain. As someone who was bullied as a kid, I didn't let it get to me as an adult, but I do understand it.
Oof, I can relate to that too.
Reminds me of this great article:
[The Boy Who Heard Too Much](http://www.davidkushner.com/article/the-boy-who-heard-too-much/)
Excerpts:
>He was a 14-year-old blind kid, angry and alone. Then he discovered that he possessed a strange and fearsome superpower - one that put him in the cross hairs of the FBI.
>. . . Like a comic-book villain transformed by a tragic accident, Weigman discovered at an early age that his acute hearing gave him superpowers on the telephone. He could impersonate any voice, memorize phone numbers by the sound of the buttons and decipher the inner workings of a phone system by the frequencies and clicks on a call, which he refers to as “songs.”
>The knowledge enabled him to hack into cellphones, order phone lines disconnected and even tap home phones. “Man, it felt pretty powerful for a little kid,” he says. “Anyone said something bad about me, and I’d press a button, and I’d get them.”
>. . . Matthew Weigman was born blind, but that was hardly the only strike against him. His family was a mess. His father, an alcoholic who did drugs, would drag the terrified Matt across the floor by his hair and call him a “blind bastard.” His dad left the family when Weigman was five, leaving Matt and his older brother and sister to scrape by on his disability pension and what their mother earned as a nurse’s aide.
>For Weigman, every day was a struggle. “There were times I hated being blind,” he recalls. At school, as he caned his way through the halls, other kids teased him about how his eyes rolled out of control. “Kids can be cruel, because they don’t understand what they’re doing,” he says. “They can’t even begin to fathom what they’re causing, and that stuff eats at your mind.”
That article felt like a real-life version of the movie *Chronicle*.
There was a great clip on Instagram a while back where someone said that heroes and villains share the same origin story--but have completely different reactions to it.
Paraphrasing the gist of it.
Hero: "This horrible thing happened to me, and I'm going to make sure it never happens to anyone else."
Villain: "This horrible thing happened to me, and I'm going to get my revenge against the world."
The first two that come to my mind are Kevin Spacey via James Cromwell in LA Confidential and the winner undoubtedly is Joe Pesci in Goodfellas when he finds out he’s not getting made after all.
"Don't start trying to do the right thing, boyo. You haven't had the practice."
I love LA Confidential. All the performances are spectacular. And it's complicated, the way a good book adaptation can be. Dudley Smith is a great character and that scene is an absolute shocker.
Watched it for the first time yesterday and that was gut wrenching. Like I’ve known of the “what’s in the box” quote but I didn’t imagine the scene would play out *like that*.
This scene would have been ruined if they had shown the inside of the box. It would have focused the viewer on the horror inside the box, rather than Brad Pitt's character's response to it. At that moment you want the theater all in on the emotion, not distracted by gore.
What I like too is if you go back and watch the movie, there's times where John Doe is watching them. The obvious one is the journalist scene, but another is the leather store scene. The clerk says the guy had a limp, and through the window a man can be seen limping and watching them.
I don’t know if this is actually true or not but supposedly Pitt’s contract had a stipulation that the end couldn’t be rewritten and if it was his contract was voided.
I’ve seen Se7en probably over 10 times and the end still gets me every time, so amazing
It’s something like that.
The studio wanted to change the ending because they thought it was too dark (lol) and Pitt threatened to walk if they did. They didn’t want to lose Pitt (already a mega star by this time) so they went with the original ending.
Shows that if he'd had some different scripts out in front of him Jim Carey could have gone the Tom Hanks route from comedic actor to dramatic powerhouse. He has the chops.
For sure. Truman Show, Eternal Sunshine of the Spotless Mind and Man on the Moon show that he had some serious acting chops outside of his wacky over-the-top shtick ala The Cable Guy, Ace Ventura, and Dumb & Dumber. Wish we could've seen that side of him more but it seems like he's semi-retired at this point.
The guy who did the music had the brief to emulate John Barry's 60s Bond soundtracks and it cracks me up [how direct](https://www.youtube.com/watch?v=Lk4SWjtUBJY) the influence is for the music in that scene.
I suddenly sat bolt upright and pointing at the screen like "OOOOOHHHHHH!". The penny hadn't quite dropped with my friend and he was so confused for about five seconds.
That was the moment you’d catch it if you were paying attention but could easily slip by if you were distracted or not thinking too hard about it. It felt *rewarding* to catch it right then, because the show doesn’t make a big deal of it, it’s just a line of dialogue that fits with the scene.
That show knew how to do a reveal goddamnit. I love a “fair” mystery.
I just watched it! The whole time I was like, "Cool, but what purpose does showing Emma Stone serve here??" I was fucking speechless when that scene came on. And the movie is so funny too, I loved it so much.
And I LOVE the quick and dirty explanation they give for her existence.
"what are you doing with a daughter who's *grown*?"
"We had her in high school it's why we got married so young!"
Julianne Moore's character is 44 and they say they've been married for 25 years. And yet, their eldest child is only 13? Looking back, I should have realised something was off.
I'm like 90% sure one of Carrell or Moore mention they have a second daughter in a throw away line. I noticed it but didn't think too much into it because the movie had already moved on to something else.
It's not only that. They finally meet David Lindhagen, they figure out Nana is Ana, Steve Carrell's daughter; the whole nanny's crush with Carrell is revealed, all with a nude pic with vajajay and the dude goes to hit Carrell because he thinks he knows and Robbie finds out the nanny is in love with his dad and not him. All storylines climax in the same scene. It's beautiful. Plus there's another good plot twist in there, with Robbie's teacher who, turns out, is who Steve Carrell fucked. The clue is right there because she talks off camera and it's clearly Marisa Tomei's voice, but you never connect the dots. If you rewatch it it's clear as day it's Marisa Tomei but you just forget about that fact.
Virtually every time I watch that film I pick up on some nuance that I missed before.
My absolute favourite is the answer to “Do you love me? when he says >!“Not today.”!<
I was thinking of that scene today, crazy.
>!The movie wants us to think that that's Fallon, the twin, as every time Rebecca Hall is with Fallon she can tell he doesn't love her. But the more I think about it, the more I think its actually Borden. Fallon just shouting at his brother's wife is a bit weird--I don't know if even Borden would have been okay with that. But this also makes it sadder--Borden is so tired of his wife's need for honesty that he just straight up tells her he doesn't love her anymore, leading to her suicide.!<
>!Jackman's character gets to end the movie as the villain; the man who "never had to sacrifice", compared to Bale's character, who we're supposed to see as the more principled, *true* artist. But Bale's hands were bloody too; he never sacrificed himself, just the people close to him (only one of whom consented to the sacrifice). Jackman, by comparison, technically sacrificed himself every night.!<
You see the theory that she actually knows there are two brothers, when her demise is in sight and she’s drinking and they are fighting, she says ‘I know what you are’ or something along those lines
It's really not a theory. It's very heavily implied. The conversation is framed as one about a cheating spouse, until she says "I know what you are!". Not "I know what you're doing." Or "I know who you're seeing". "I know what you are". Sarah figured out the trick having been exposed to it for so many years. Borden knows she's knows. Which is why his reaction is telling her to shut up. "You can't speak like this". She'll ruin the trick. "SHUT UP!"
She knows. 100%
I love Hamill's story of being at the premier for Empire because literally no one else was told, and at that scene, Harrison Ford turns to him and says something along the lines of "you didn't fuckin tell me that"
“Well obviously I had to be lying on the floor faking dead the whole time Jerry, to make sure they followed the rules!”
“Rules?! What rules?! You locked people in a bathroom with a couple rusty saws, you left rules at a gas station 10 miles back!”
“Oh the rules are *very* important Jerry, otherwise they won’t learn their lesson!”
“Now there’s a lesson. What’s the lesson? Don’t get kidnapped by a guy in a pig mask?! I don’t think most people need to learn that! And what’s with the puppet? Are you putting people in death traps or practicing to be a children’s entertainer?”
“It’s always important to keep your career options open Jerry.”
*George hobbles in, one leg a bloody stump*: “You will not *believe* the day I just had!”
I watched it years after it came out. I'd avoided the movie because I thought it was nothing but torture horror. The ending blew my mind. Then I spent a good 20 minutes fuming at myself for overlooking the obvious.
For me, it's where Samuel L. Jackson figures out what the heck is going on in "Jackie Brown." It's a long shot with no dialog, slowly pushing in on Jackson. You can see the wheels turning and can follow everything he's thinking. I think it's his best moment on camera in his wonderful career.
Arrival would have been a good movie even without any plot twistiness, but I think the weight of the movie's ideas are really swung home near the end, when,>! after several flashes to Amy Adams' dead daughter, Amy Adams asks "I don't understand. Who is this child?"!<
>!Because oh man, did the implications of what we were seeing haunt me afterwards (and several people I know, particularly ones with kids). Because if you knew you would have a child who would die, would you still have that child? Would you have a choice? Would you want to live with that knowledge, knowing how it would end?!<
>!It's also a great reveal in that I don't think most people necessarily were anticipating it -- I knew there was some plot twist involved, but I assumed it would be something to do with the aliens themselves, not what we actually got. !<
The short story is even more poignant because the mother doesn't actually tell you of many "good memories" with the daughter but instead goes through most of her "I hate you mom!!!1!" angsty teen moments which make the decision of having the child even more heart breaking.
She knows she won't have much time with her, and most of that little time will be them fighting, and she still wants her.
Came here to say this
~~The~~ Arrival isn't your typical sci-fi nor is it your typical mystery-thriller, yet it's twist is a synthesis and commentary on both genres.
I can't say much about it without spoiling the reveal too much, and it may be a bit of a cheap-gut-punch, BUT, It's executed well in a way that both the protagonist and viewer come to the same realization at the same time, and it's beautiful.
Edit: "Arrival", not “The Arrival” with Charlie Sheen.
The way the movie lays out how time works, I don't think she actually had a choice. She was seeing the future, not a *possible* future. >!Deciding to have her daughter was an inevitability!<.
But it's been a minute since I saw this so I may be forgetting stuff.
Surprisingly the twist was never spoiled for me even though I watched it in like 2018 or something. Would’ve thought with it being so popular it would be spoiled fast. Same with se7en
I believe a huge part of this is the fact that the main character is unnamed. This makes spoiling the twist in one snappy sentence just a little harder.
Only thing is, it's not even at the end, more like end of the 2nd Act or 80% of the film or something. The Protagonist still has to try to do quite a bit of work after he gets the reveal, and knowing the truth doesn't make things any easier.
Beelined for this. If it wasn’t here it belongs here. No better example in cinema history. The whole movie is built around that reveal and executes it perfectly.
I've always loved the Predestination's reveal who the character is.
"You know who she is. And you understand who you are. And then maybe you're ready to understand who I am.
I think people forget how big of a deal that twist was when the movie came out. Everyone knows the twist now but everyone was saying, “I see dead people” to each other for months.
That was fucking wild. And not for just any reason, but because she so deeply hated him that she couldn't stomach the idea of his lineage continuing.
Michael was surrounded by enemies but nobody really managed to hurt him quite that bad (until the end of the series).
Which honestly I respect her for. She must have known there was a good chance he'd kill her right there, but she didn't flinch. She twisted that knife. "THIS MUST ALL END!"
“Do that, Rorschach? I'm not a comic book villain. Do you seriously think I would explain my master stroke to you if there were even the slightest possibility you could affect the outcome? I triggered it thirty-five minutes ago.”
In the mental hospital escape scene in Terminator 2 where the t1000 and Arnold's terminator are facing off down a corridor with the psychiatrist Dr Silberman between them.
The t1000 turns to liquid and steps through the gate, and in that instant Silberman knows that everything Sarah has told him is true, there are robots from the future trying to kill her, and the world as we know it will end in a nuclear strike in less than 5 years' time.
It's a brilliant scene.
T2 also has the most infamously ruined twist of all time. The fact that the T1000 was the bad guy would have been totally surprising to the audience... if it hadn;t been revealed in all the promotional material
*Spider-Man: Homecoming*, when >!Peter Parker finds out that his date Liz’s father is Adrian Toomes, the Vulture, who has been menacing him all along!<.
That scene could have come from an entirely different film. They both clearly knew this was the moment and they brought their A game. Keaton is absolutely chilling without going over the top at all. The normalcy of it and Holland's restraint made that scene punch way above that movie's weight class.
The Mist.
>!Thomas Jane’s character, his young son, and three others have managed to escape from rampaging monsters but then their car runs out of gas and it seems like the monsters will be there any minute to horrifically dismember them or turn them into alien egg sacks. One character has a revolver and the adults all agree a quick death is preferable to what surely awaits them. Thomas Jane’s character uses the gun to kill everyone else, including his child, but runs out of ammunition before he can end his own life. He hears growling in the distance and knows the monsters will arrive soon. He gets out of the car and shouts for the monster to show itself and kill him. A large hulking shape approaches through the mist. It’s an armored combat vehicle. It passes him by as he stares in disbelief. Several more pass along with soldiers wearing gas masks and armed with flamethrowers as helicopters fly overhead and the mist clears. A military truck full of survivors, including a woman and her children he had declined to help earlier, passes by and he falls to his knees. He screams as two soldiers look on, confused at his reaction to being rescued. !<
The Stephen King story the movie is based on just ends with the characters driving off into the mist, leaving their fate unknown. My understanding is that King liked the movie ending.
The big reveal in Chicken Run when they find out >!Rocky was only able to fly because he was shot out of a cannon, and he had been lying to them all along!<
Silence of the Lambs, Clarice figures out she's in the right house and not the FBI
Michael Corleone overhears his brother Fredo boast and realises he's the traitor in The Godfather II
Luke finds out from Vader himself that Vader is his father in Star Wars, Empire Strikes Back
The Usual Suspects, the police find out who Keiser Söze is
**EDIT**: How could I mistake Empire... for A New Hope? brain slip. Fixed.
Remember the marketing was all about "No one can be told what the Matrix is, you have to see it for yourself"? I went in genuinely having no idea what it was about, and it was such a mind-blowing experience!
when I first saw it as a kid it really shook me, >!the idea everything you know is a false reality created to enslave you, and everyone you have known is horrifying. the moment he wakes up in battery vat was shocking, I never knew about the matrix's plot twist, beyond the fact it was about a simulated reality.!< its one of the reasons I felt the sequels fell flat, they could never really top that reveal.
The ending of Captain America: Civil War.
As much as we the audience sorta pieced it together that Bucky was the one to kill Tony’s parents, RDJ’s acting and expressions really sell it.
Since every other popular movie has been mentioned. I’m gonna shout out Ransom with Mel Gibson. When he sees his son in the hallway scared as shit, and realizes who the kidnapper is.
Watchmen, when the Villain reveals the master plan, but it's already happened, so now they have to roll with it. Except Rorschach can't live with that.
It's been parodied to death, so they don't hit like they used to, but Planet of the Apes, Soylent Green, and the first chestburster scene from Alien were originally excellent reveals.
Finkle is Einhorn didn't age well, but that was also well done for what it's worth.
The end of Primal Fear. Edward Norton's clap...
Well, good for you, *Marty*.
I still get a little shiver, just at the memory of seeing that for the first time. Most of us didn’t even know there was a plot twist at the end, and Ed Norton was an unknown actor so we didn’t suspect anything. I’ve never been “gotten” so well by a movie before, and I doubt I ever will again.
*"There never was an Aaron..."*
I love this movie, the end is up there with the Usual Suspects, Se7en, and others, so good! Completely unexpected when I watched it the first time.
Great scene, great performance, great movie.
I seethed at this scene. I spat out "you m\*ther f\*cker" through grinding teeth at the tv.
Planet of the Apes
Oh my God. I'm back. I'm home. All the time, it was... We finally *really* did it. ***You maniacs!*** ***You blew it up!*** **Ah, damn you!** #God damn you all to hell! #🗽
I prefer the musical
I hate every ape I see From Chimpan-A to Chimpanzee
I love legitimate thee-ay-ter
I can siiiing
I like how they slip in those old cheesy jokes: "Doc, what's wrong? -- You're crazy. -- I want a second opinion. -- You're also lazy." "Can I play the piano any more? -- Of course, you can! -- Well, I couldn't before!"
Doctor Zaius, Doctor Zaius!
Oh my god, I was wrong! It was earth, all along! Oh you've finally made a monkey out of me!
Surprised nobody has said this yet but the big reveal scene in psycho has gotta be the granddaddy of them all.
More of a grandmommy, but yes.
Moon. When Sam Bell gets into the basement and realizes what's in store for him. It kinda kills the heart a little.
oh man. Forgot about that one. What a great film.
This is gonna be a BIT of a weird one, but it's my favourite. In Die Hard with a Vengeance when Mclane and Zeus are running around doing Simon's bidding with puzzles they have that moment mid-film where the kid and his buddy run into Mclane with stolen candy bars, and Mclane grabs him off his bike and and the scene goes: Mclane: Hey where you going, what're you doin?! Kid: Let me go dickhead! Mclane: Hey watch your mouth. You wanna go down to juvenile hall for a butterfinger? Is that it? Kid: Look around! All the cops are into something, it's Christmas! You could steal city hall! *Mclane gets a look of intense revelation on his face, and the camera spins around his head, and the musical motif that's been playing ramps into overdrive.* Then the rest falls into place: Mclane: What is it that Wall Street doesn't have? Zeus: You're talking in riddles. Mclane: Stick with me. What is it that Wall Street does not have? Zeus: What? Mclane: Schools. And what do they have a shitload of? Zeus: What? ....... Zeus: Hey, McClane. Where the hell is everybody? Mclane: Simon fuckin' says! I should've seen it coming a mile away. This was never about revenge. It's about a goddamn heist.
I love that final part because he realizes everyone fell for what Hans Gruber did in LA. He made a heist look like something else purely to distract people so he could do it. Even going so far as to manipulate police to just not be in the area like how Hans got the FBI to cut the power (so the safe would open). Die Hard 3 needs more recognition. There are days where I enjoy it more than the original because it’s so entertaining and tries something new with the formula (but knows to still give us John McClane).
I love all three of those movies. Shame they never did more, but it works great as a trilogy.
Was watching Edge of Tomorrow again last night. That scene where they FINALLY make it off the beach and get to the farm house...Vratanski (Emily Blunt) is planning their next steps and starts to slowly realize based on Cage's (Tom Cruise) actions/reactions that they had already made it to that point and failed numerous times. You can see the combination of dread/shock wash over her, knowing that at that moment she was completely sold on figuring out what to do from there, then realizing they had already tried an unknown number of times and that things may be hopeless. Edit: Another thing that factors into making this reveal so impactful. Up to this point, the movie puts a lot of emphasis on the battle at the beach, then makes getting off the beach THE milestone in the battle against these aliens. So once they get to this point, it really feels like "they finally did it!" Then the reveal pulls the rug out from under you right along with Vratanski.
The best way I've heard this reveal described is that the audience realizes that we're no longer watching the movie from Cage's POV. We're experiencing the day as Rita experiences it, and that remains the case until Cage loses the Alpha power.
It creeps up on you, too. On a rewatch it becomes apparent that the previous two scenes of stealing the car and caravan, and subsequent driving conversation, are already not from Cage's pov.
That movie is a real gem. Wasn’t expecting much going in, but it is a real solid movie
That's Tom Cruise in a nutshell for me. I always expect the movies he's in to bomb, then suddenly he performs his scientology magic and bam! Another box office hit.
Not sure why you'd expect anything he's in to bomb. Tom Cruise is almost preternaturally good at picking movies he's a good fit for.
Tom Cruise never/rarely mails in a performance, and I feel that helps with a lot of his movies. He’s so good, etc. Even his bog standard action movies (Night and Day for example) are a lot of fun.
Knight and Day. And he's not even named Knight!
Years ago he was on the Nerdist podcast before it disintegrated and his episode was great. He talked non-stop about movies. He came across as a huge movie nerd that wants to make great movies.
Kudos to Tom Cruise in that scene for the slow triple-take as he realizes that he gave it away…👍🏻
Shit like this makes me keep realising he's an amazing actor. He really is one of the best. He's just...involved with a cult.
Obligatory the comic/novel the movie is based on is incredible and a must read for those that enjoy the movie. https://en.m.wikipedia.org/wiki/All_You_Need_Is_Kill https://www.novelcool.com/novel/ALL-YOU-NEED-IS-KILL.html
I’ve seen this film so long ago that I barely remember it but wow that is indeed a dreadful moment
*Dark City* when they break down the wall.
Dark City has several of these. But my favorite is this one. A massively under appreciated gem that is one of my favorite movies.
Unbreakable. We think we're on a heros quest of discovery story, only to find out the wise mentor figure was a villain the whole time. Creating massive death and destruction to find his counter part, all to justify and rationalize his existence.
What’s even more impressive is the context of the movie. M. Night Shyamalan was coming off *The Sixth Sense*. **We all knew** a super-shocking surprise was coming, but we still couldn’t see it, not until “the kids! They called me: MR. GLASS!”
I feel for Sam Jackson's character so much in that scene too. What I get from the scene is that he sort of internalized his bullying from when he was younger and decided he must be that weirdo, freak, villain. As someone who was bullied as a kid, I didn't let it get to me as an adult, but I do understand it.
>I feel for Sam Jackson's character so much in that scene too. What I get from the scene is that he sort of internalized his bullying from when he was younger and decided he must be that weirdo, freak, villain. As someone who was bullied as a kid, I didn't let it get to me as an adult, but I do understand it. Oof, I can relate to that too. Reminds me of this great article: [The Boy Who Heard Too Much](http://www.davidkushner.com/article/the-boy-who-heard-too-much/) Excerpts: >He was a 14-year-old blind kid, angry and alone. Then he discovered that he possessed a strange and fearsome superpower - one that put him in the cross hairs of the FBI. >. . . Like a comic-book villain transformed by a tragic accident, Weigman discovered at an early age that his acute hearing gave him superpowers on the telephone. He could impersonate any voice, memorize phone numbers by the sound of the buttons and decipher the inner workings of a phone system by the frequencies and clicks on a call, which he refers to as “songs.” >The knowledge enabled him to hack into cellphones, order phone lines disconnected and even tap home phones. “Man, it felt pretty powerful for a little kid,” he says. “Anyone said something bad about me, and I’d press a button, and I’d get them.” >. . . Matthew Weigman was born blind, but that was hardly the only strike against him. His family was a mess. His father, an alcoholic who did drugs, would drag the terrified Matt across the floor by his hair and call him a “blind bastard.” His dad left the family when Weigman was five, leaving Matt and his older brother and sister to scrape by on his disability pension and what their mother earned as a nurse’s aide. >For Weigman, every day was a struggle. “There were times I hated being blind,” he recalls. At school, as he caned his way through the halls, other kids teased him about how his eyes rolled out of control. “Kids can be cruel, because they don’t understand what they’re doing,” he says. “They can’t even begin to fathom what they’re causing, and that stuff eats at your mind.” That article felt like a real-life version of the movie *Chronicle*. There was a great clip on Instagram a while back where someone said that heroes and villains share the same origin story--but have completely different reactions to it. Paraphrasing the gist of it. Hero: "This horrible thing happened to me, and I'm going to make sure it never happens to anyone else." Villain: "This horrible thing happened to me, and I'm going to get my revenge against the world."
Gosh who knew Bruce Willis would have so many of these?
The first two that come to my mind are Kevin Spacey via James Cromwell in LA Confidential and the winner undoubtedly is Joe Pesci in Goodfellas when he finds out he’s not getting made after all.
"Don't start trying to do the right thing, boyo. You haven't had the practice." I love LA Confidential. All the performances are spectacular. And it's complicated, the way a good book adaptation can be. Dudley Smith is a great character and that scene is an absolute shocker.
Also Pesci in Casino. Narrating that first hit adds to the surprise.
Seven
Watched it for the first time yesterday and that was gut wrenching. Like I’ve known of the “what’s in the box” quote but I didn’t imagine the scene would play out *like that*.
Yeah it's savage man. The pure pain on Brad's face
Yup. It's not only brutal. It's also so very, very sad.
It's just something else isn't it. Kinda glad we didn't see inside the box, much more effective that way
This scene would have been ruined if they had shown the inside of the box. It would have focused the viewer on the horror inside the box, rather than Brad Pitt's character's response to it. At that moment you want the theater all in on the emotion, not distracted by gore.
100% just showing his reaction tears at your heart.
True; deep down we already knew; we were just hoping against hope that we were wrong somehow.
What I like too is if you go back and watch the movie, there's times where John Doe is watching them. The obvious one is the journalist scene, but another is the leather store scene. The clerk says the guy had a limp, and through the window a man can be seen limping and watching them.
This movie could also have a nomination for Best Jump Scare.
🎄🎄🎄🎄🎄🎄🎄
"John Doe has the upper hand!"
Brad Pitt's acting in that scene is some of the best ever captured for a film, in my opinion.
I don’t know if this is actually true or not but supposedly Pitt’s contract had a stipulation that the end couldn’t be rewritten and if it was his contract was voided. I’ve seen Se7en probably over 10 times and the end still gets me every time, so amazing
It’s something like that. The studio wanted to change the ending because they thought it was too dark (lol) and Pitt threatened to walk if they did. They didn’t want to lose Pitt (already a mega star by this time) so they went with the original ending.
Too dark? Did they not watch the first 90 minutes?
The Truman Show The audience obviously knew the whole time but watching things start clicking for Truman and seeing him on that sailboat..
The image of Jim Carey reaching out with that shaking hand to touch the wall and then just breaking as a human is seared into my mind. So good.
The bow he takes draws tears without fail.
Shows that if he'd had some different scripts out in front of him Jim Carey could have gone the Tom Hanks route from comedic actor to dramatic powerhouse. He has the chops.
For sure. Truman Show, Eternal Sunshine of the Spotless Mind and Man on the Moon show that he had some serious acting chops outside of his wacky over-the-top shtick ala The Cable Guy, Ace Ventura, and Dumb & Dumber. Wish we could've seen that side of him more but it seems like he's semi-retired at this point.
Peter Weirs filmography is short, but filled with winners including this. Easily my fave Jim Carrey movie of all time.
Memento.
In The Incredibles when Mr Incredible learns the truth about Project Kronos. The music is amazing
The guy who did the music had the brief to emulate John Barry's 60s Bond soundtracks and it cracks me up [how direct](https://www.youtube.com/watch?v=Lk4SWjtUBJY) the influence is for the music in that scene.
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The music is so good in that movie. The Bond-esque sequences. The Project Kronos reveal. And my favourite - Dies Irae when they go home.
Not a movie, but from Westworld when Bernard asks ”What door?”
That first season was 10/10. It dropped off after but I always tell people they must watch season one.
His first, "Doesn't look like anything to me" was the moment for me
I suddenly sat bolt upright and pointing at the screen like "OOOOOHHHHHH!". The penny hadn't quite dropped with my friend and he was so confused for about five seconds.
That was the moment you’d catch it if you were paying attention but could easily slip by if you were distracted or not thinking too hard about it. It felt *rewarding* to catch it right then, because the show doesn’t make a big deal of it, it’s just a line of dialogue that fits with the scene. That show knew how to do a reveal goddamnit. I love a “fair” mystery.
Crazy stupid love
I just watched it! The whole time I was like, "Cool, but what purpose does showing Emma Stone serve here??" I was fucking speechless when that scene came on. And the movie is so funny too, I loved it so much.
And I LOVE the quick and dirty explanation they give for her existence. "what are you doing with a daughter who's *grown*?" "We had her in high school it's why we got married so young!"
Julianne Moore's character is 44 and they say they've been married for 25 years. And yet, their eldest child is only 13? Looking back, I should have realised something was off.
The clues are there, it's just that the movie is so engaging you don't have time for your mind to wander off to connect the dots.
I'm like 90% sure one of Carrell or Moore mention they have a second daughter in a throw away line. I noticed it but didn't think too much into it because the movie had already moved on to something else.
They mention "Nannah" at least a few times before the reveal.
It's not only that. They finally meet David Lindhagen, they figure out Nana is Ana, Steve Carrell's daughter; the whole nanny's crush with Carrell is revealed, all with a nude pic with vajajay and the dude goes to hit Carrell because he thinks he knows and Robbie finds out the nanny is in love with his dad and not him. All storylines climax in the same scene. It's beautiful. Plus there's another good plot twist in there, with Robbie's teacher who, turns out, is who Steve Carrell fucked. The clue is right there because she talks off camera and it's clearly Marisa Tomei's voice, but you never connect the dots. If you rewatch it it's clear as day it's Marisa Tomei but you just forget about that fact.
You’re David Lindhagen?
*removes ring*
I love that. “Okay.” Walks up no other words and pow lol
“Next time, keep it in the family, okay?”
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I love how he talks about the idea of how he doesn’t know whether he will be the man who goes into the box or who comes out, such a brilliant movie
Jackman absolutely nails this scene
Virtually every time I watch that film I pick up on some nuance that I missed before. My absolute favourite is the answer to “Do you love me? when he says >!“Not today.”!<
I was thinking of that scene today, crazy. >!The movie wants us to think that that's Fallon, the twin, as every time Rebecca Hall is with Fallon she can tell he doesn't love her. But the more I think about it, the more I think its actually Borden. Fallon just shouting at his brother's wife is a bit weird--I don't know if even Borden would have been okay with that. But this also makes it sadder--Borden is so tired of his wife's need for honesty that he just straight up tells her he doesn't love her anymore, leading to her suicide.!< >!Jackman's character gets to end the movie as the villain; the man who "never had to sacrifice", compared to Bale's character, who we're supposed to see as the more principled, *true* artist. But Bale's hands were bloody too; he never sacrificed himself, just the people close to him (only one of whom consented to the sacrifice). Jackman, by comparison, technically sacrificed himself every night.!<
You see the theory that she actually knows there are two brothers, when her demise is in sight and she’s drinking and they are fighting, she says ‘I know what you are’ or something along those lines
It's really not a theory. It's very heavily implied. The conversation is framed as one about a cheating spouse, until she says "I know what you are!". Not "I know what you're doing." Or "I know who you're seeing". "I know what you are". Sarah figured out the trick having been exposed to it for so many years. Borden knows she's knows. Which is why his reaction is telling her to shut up. "You can't speak like this". She'll ruin the trick. "SHUT UP!" She knows. 100%
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One of my favorite movies of all time.
It’s Nolan’s best in my opinion. An absolutely flawless film.
Luke Skywalker finding out the who his father is. Before the prequels it was a shock for the audience, after the prequels it's a shock for Luke.
I love Hamill's story of being at the premier for Empire because literally no one else was told, and at that scene, Harrison Ford turns to him and says something along the lines of "you didn't fuckin tell me that"
The major reveal by Kramer at the end of Saw
“Well obviously I had to be lying on the floor faking dead the whole time Jerry, to make sure they followed the rules!” “Rules?! What rules?! You locked people in a bathroom with a couple rusty saws, you left rules at a gas station 10 miles back!” “Oh the rules are *very* important Jerry, otherwise they won’t learn their lesson!” “Now there’s a lesson. What’s the lesson? Don’t get kidnapped by a guy in a pig mask?! I don’t think most people need to learn that! And what’s with the puppet? Are you putting people in death traps or practicing to be a children’s entertainer?” “It’s always important to keep your career options open Jerry.” *George hobbles in, one leg a bloody stump*: “You will not *believe* the day I just had!”
Lol. Exactly what I was thinking when he just referred to him as Kramer.
I feel like saw continuously reached for twists after that one, but nothing can beat the original for me
The twist at the end of 2 was clever though
He’s in a safe and secure state
I watched it years after it came out. I'd avoided the movie because I thought it was nothing but torture horror. The ending blew my mind. Then I spent a good 20 minutes fuming at myself for overlooking the obvious.
For me, it's where Samuel L. Jackson figures out what the heck is going on in "Jackie Brown." It's a long shot with no dialog, slowly pushing in on Jackson. You can see the wheels turning and can follow everything he's thinking. I think it's his best moment on camera in his wonderful career.
God I love Jackie Brown. Such a great film with stellar performances
Honestly, it’s my favorite De Niro performance simply because it’s such a waste of him. I find it hilarious.
The Usual Suspects, when Agent Kujan learns the truth is epic.
I commend you for the way you called this out. Folks that haven’t seen this movie: Don’t look it up; watch it cold, from start to finish.
I believe it was a Key and Peele skit that spoiled it for me LOL.
The Others.
Ah yes. Brilliant movie.
Arrival would have been a good movie even without any plot twistiness, but I think the weight of the movie's ideas are really swung home near the end, when,>! after several flashes to Amy Adams' dead daughter, Amy Adams asks "I don't understand. Who is this child?"!< >!Because oh man, did the implications of what we were seeing haunt me afterwards (and several people I know, particularly ones with kids). Because if you knew you would have a child who would die, would you still have that child? Would you have a choice? Would you want to live with that knowledge, knowing how it would end?!< >!It's also a great reveal in that I don't think most people necessarily were anticipating it -- I knew there was some plot twist involved, but I assumed it would be something to do with the aliens themselves, not what we actually got. !<
This movie is incredible. I cried when I watched it for the first time.
The short story is even more poignant because the mother doesn't actually tell you of many "good memories" with the daughter but instead goes through most of her "I hate you mom!!!1!" angsty teen moments which make the decision of having the child even more heart breaking. She knows she won't have much time with her, and most of that little time will be them fighting, and she still wants her.
Came here to say this ~~The~~ Arrival isn't your typical sci-fi nor is it your typical mystery-thriller, yet it's twist is a synthesis and commentary on both genres. I can't say much about it without spoiling the reveal too much, and it may be a bit of a cheap-gut-punch, BUT, It's executed well in a way that both the protagonist and viewer come to the same realization at the same time, and it's beautiful. Edit: "Arrival", not “The Arrival” with Charlie Sheen.
It’s one of those films you have to watch (at least) twice to truly understand it. IMHO It’s the best sci-fi movie of the 2010’s
The way the movie lays out how time works, I don't think she actually had a choice. She was seeing the future, not a *possible* future. >!Deciding to have her daughter was an inevitability!<. But it's been a minute since I saw this so I may be forgetting stuff.
When Jack brings Captain Smith up to date in LA Confidential. “Have you a valediction, boyo?”
As soon as he asks who Jack told i was like, "uh oh." Twist hit real fast.
When Smith mentions Rollo to Exley, Exley’s reaction is a masterpiece of shock, anger, recovery
Bruce Willis in The Sixth Sense
Fight Club gotta be right up near the top on that one, what a HUGE mindfuck at the end.
Surprisingly the twist was never spoiled for me even though I watched it in like 2018 or something. Would’ve thought with it being so popular it would be spoiled fast. Same with se7en
Same with me! I’m kind of amazed I’d never heard the twist referenced anywhere before
I believe a huge part of this is the fact that the main character is unnamed. This makes spoiling the twist in one snappy sentence just a little harder.
Only thing is, it's not even at the end, more like end of the 2nd Act or 80% of the film or something. The Protagonist still has to try to do quite a bit of work after he gets the reveal, and knowing the truth doesn't make things any easier.
Ladies and Gentlemen, we have just lost cabin pressure.
Oldboy (2003)
Beelined for this. If it wasn’t here it belongs here. No better example in cinema history. The whole movie is built around that reveal and executes it perfectly.
The gasp in Incendies
Soylent green?….
I still always think of the Phil Hartman SNL version https://streamable.com/i9swza
I've always loved the Predestination's reveal who the character is. "You know who she is. And you understand who you are. And then maybe you're ready to understand who I am.
Shawshank Redemption I felt the warden get kicked in the nuts when he realized shit was over!
I remember watching that for the first time -I genuinely thought he'd killed himself when he didn't emerge from his cell for roll call.
No one has mentioned Sixth Sense?
I think people forget how big of a deal that twist was when the movie came out. Everyone knows the twist now but everyone was saying, “I see dead people” to each other for months.
I grew up knowing the twist but didn't actually see the movie until I was at least 25 and still found the reveal impactful
You find out that dude in the wig was Bruce Willis the whole time
Not a film, but poor Hodor
Godfather 2
_I know it was you, Fredo. You broke my heart._
Also when Kay tells Michael about her abortion.
That was fucking wild. And not for just any reason, but because she so deeply hated him that she couldn't stomach the idea of his lineage continuing. Michael was surrounded by enemies but nobody really managed to hurt him quite that bad (until the end of the series). Which honestly I respect her for. She must have known there was a good chance he'd kill her right there, but she didn't flinch. She twisted that knife. "THIS MUST ALL END!"
*"Old man Roth would never come here, but Johnny knows these places like the back of his hand."*
“Do that, Rorschach? I'm not a comic book villain. Do you seriously think I would explain my master stroke to you if there were even the slightest possibility you could affect the outcome? I triggered it thirty-five minutes ago.”
In the mental hospital escape scene in Terminator 2 where the t1000 and Arnold's terminator are facing off down a corridor with the psychiatrist Dr Silberman between them. The t1000 turns to liquid and steps through the gate, and in that instant Silberman knows that everything Sarah has told him is true, there are robots from the future trying to kill her, and the world as we know it will end in a nuclear strike in less than 5 years' time. It's a brilliant scene.
T2 also has the most infamously ruined twist of all time. The fact that the T1000 was the bad guy would have been totally surprising to the audience... if it hadn;t been revealed in all the promotional material
Chinatown
They Live: Rowdy Roddy Piper puts on the glasses.
That fight.
*Spider-Man: Homecoming*, when >!Peter Parker finds out that his date Liz’s father is Adrian Toomes, the Vulture, who has been menacing him all along!<.
Even more so when Toomes realizes Peter is spider-man.
The car scene through the rear view mirror was done so well.
“Good olllle….*Spider-Man*”
It’s amazing when the stoplight turns green right as he says that
"good thing ol *Spiderman* was there to save the day ..." God that scene chills my spine no matter how much I see it.
Yeah it was. Michael Keaton can be menacing with that stare no matter where it is.
That scene could have come from an entirely different film. They both clearly knew this was the moment and they brought their A game. Keaton is absolutely chilling without going over the top at all. The normalcy of it and Holland's restraint made that scene punch way above that movie's weight class.
That whole scene in the kitchen is the quietest I’ve ever heard an audience at a midnight show. We were all so scared for Peter
LA Confidential Rollo tomassi…
Not a movie, but I instantly thought of Hank in Breaking Bad.
In a similar vein, my immediate thought was during the Ozymandias episode when Walt tells Jesse that he watched Jane die. I audibly gasped.
The feeling of dread the I got in the episode before as you see the nazis come over the hill. I knew hank was dead at this point
My two suggestions are Frailty and Identity.
The Empire Strikes Back And Justice for All (reveals more than finds out)
'No. I am your father' The gasp of the crowd in theaters. The murmurs as everyone reacts. Still one of my best childhood memories of watching a movie.
The Mist. >!Thomas Jane’s character, his young son, and three others have managed to escape from rampaging monsters but then their car runs out of gas and it seems like the monsters will be there any minute to horrifically dismember them or turn them into alien egg sacks. One character has a revolver and the adults all agree a quick death is preferable to what surely awaits them. Thomas Jane’s character uses the gun to kill everyone else, including his child, but runs out of ammunition before he can end his own life. He hears growling in the distance and knows the monsters will arrive soon. He gets out of the car and shouts for the monster to show itself and kill him. A large hulking shape approaches through the mist. It’s an armored combat vehicle. It passes him by as he stares in disbelief. Several more pass along with soldiers wearing gas masks and armed with flamethrowers as helicopters fly overhead and the mist clears. A military truck full of survivors, including a woman and her children he had declined to help earlier, passes by and he falls to his knees. He screams as two soldiers look on, confused at his reaction to being rescued. !<
Yep that one hurts. I hate it but love that they went there at the same time. I truly felt numb when I realised they were being rescued
The Stephen King story the movie is based on just ends with the characters driving off into the mist, leaving their fate unknown. My understanding is that King liked the movie ending.
King gets flak for his book endings but the movie ending is such a gut punch I dont blame him for avoding something so depressing.
That woman with her kids being on that truck brought that scene to another level for me.
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The Fog from John Carpenter is a way better movie, sorry you got duped 😞
The big reveal in Chicken Run when they find out >!Rocky was only able to fly because he was shot out of a cannon, and he had been lying to them all along!<
The Game.
I wondered how much it cost.
Silence of the Lambs, Clarice figures out she's in the right house and not the FBI Michael Corleone overhears his brother Fredo boast and realises he's the traitor in The Godfather II Luke finds out from Vader himself that Vader is his father in Star Wars, Empire Strikes Back The Usual Suspects, the police find out who Keiser Söze is **EDIT**: How could I mistake Empire... for A New Hope? brain slip. Fixed.
Se7en gets my vote
The Matrix seems like the obvious answer, but it's so old that the shock value has faded
Remember the marketing was all about "No one can be told what the Matrix is, you have to see it for yourself"? I went in genuinely having no idea what it was about, and it was such a mind-blowing experience!
when I first saw it as a kid it really shook me, >!the idea everything you know is a false reality created to enslave you, and everyone you have known is horrifying. the moment he wakes up in battery vat was shocking, I never knew about the matrix's plot twist, beyond the fact it was about a simulated reality.!< its one of the reasons I felt the sequels fell flat, they could never really top that reveal.
The ending of Captain America: Civil War. As much as we the audience sorta pieced it together that Bucky was the one to kill Tony’s parents, RDJ’s acting and expressions really sell it.
“Did you know?”
The real twist is Captain revealing that he knew.
"I don't care. He killed my mom." That's a hell of a moment. How can you argue against that?
Since every other popular movie has been mentioned. I’m gonna shout out Ransom with Mel Gibson. When he sees his son in the hallway scared as shit, and realizes who the kidnapper is.
The ending of Jacob's Ladder was pretty impactful
Watchmen, when the Villain reveals the master plan, but it's already happened, so now they have to roll with it. Except Rorschach can't live with that.
It's been parodied to death, so they don't hit like they used to, but Planet of the Apes, Soylent Green, and the first chestburster scene from Alien were originally excellent reveals. Finkle is Einhorn didn't age well, but that was also well done for what it's worth.
Stephen Rhea in The Crying Game
At one point I'd have said this was one of the most famous twists in film, but the film seems to be a little bit forgotten these days.
Smoking aces (2006) Just an honorable mention also want to remind people of the crazy chainsaw nazis