From subtle supernatural appearances to disturbing background figures, these spine-chilling movie moments might have escaped your notice on first viewing. Join us as we explore the most unsettling details lurking in the shadows of famous films, proving that sometimes the scariest things aren't right in front of you.
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00:00Welcome to WatchMojo, and today we're counting down our picks for the scariest and most
00:14unsettling movie visuals that occur in the background.
00:23Number 30. The Plane Explosion. Final Destination.
00:30There you go. Here we stay.
00:31Unlike the other Final Destination films, which make elaborate 20-minute set pieces out of their
00:37main accident, the first film gets it done and over within seconds, and in the background no less.
00:44Alex has his premonition and freaks out, forcing all of his friends off the plane. They then watch
00:49the plane depart, most of them obviously not believing his preternatural ability to read the
00:54future. And just as Alex and Carter are fighting, the plane blows up in the background, sending
01:01people flying and windows shattering. It's a brilliant and creative way of filming the sequence,
01:06making the horrible event feel more realistic, and having it occur through the perspective of
01:11our shocked and disbelieving protagonists.
01:26Number 29. Bruno. Encanto.
01:29Who says kids' movies can't be creepy? We Don't Talk About Bruno was the runaway hit of Encanto,
01:44a boppy salsa number about the black sheep of the Madrigal family. Dolores sings about Bruno living
01:50inside the walls of the casita, which is super creepy in and of itself. But it gets even worse.
01:55Eagle-eyed viewers can see Bruno himself skulking around on the upper level, sneaking past with his
02:01back hunched, and then dancing to Dolores' singing. This visual could easily unsettle younger viewers,
02:07especially considering its stalker vibe and the hunched, cloaked appearance of Bruno.
02:12Still, that little dance he does is pretty darned adorable.
02:15Always left up a lie in the family, fumbling, grappling with prophecies they couldn't understand.
02:21Do you understand?
02:23Number 28. The Car.
02:25Adaptation.
02:26Last year's been a dream. I'm telling you. Finally pulling out of debt.
02:32Amen, honey. I'm so proud of you too.
02:36Writer Charlie Kaufman and director Spike Jonze love playing with meta-narrative and self-referential
02:43storytelling throughout Adaptation, creating a dreamy and surreal atmosphere, which only makes
02:49the sudden brutality of the La Roche car crash that much more effective. The crash happens
02:54abruptly without the usual cinematic buildup or foreshadowing, abandoning all aspects of surrealism and going
03:01straight to, well, normal realism. The car appears in the background just milliseconds before the crash
03:08occurs, catching the audience off guard and making it feel disturbingly visceral. It reminds viewers of a real car crash,
03:15especially that brief jolt of adrenaline that occurs in the space between sensing danger and the danger occurring.
03:22I killed my mom, you know, and my uncle. That's how I lost my front teeth.
03:29My wife was in a coma for like, uh, three weeks.
03:37Number 27. Peeking through the door. Creep.
03:41Can I ask you a question and you'll answer me honestly?
03:43Okay.
03:45When you saw that axe up front of the house,
03:48was there a small part of you that thought I might kill you with it?
03:51A wonderful little horror movie, Creep follows Aaron, a freelance videographer who has an
03:57unsettling run-in with, well, a creep. Aaron returns home after a very unsettling day with
04:02a man calling himself Joseph. But the scares don't end there. Aaron receives a number of
04:08weird things in the mail and soon begins hearing sounds outside of his house, prompting him to grab
04:13a knife and go on the defense. He stands still to listen, but the second he moves, we see Joseph
04:19standing outside of the door watching Aaron. The way the scene is filmed is highly effective,
04:24especially considering the lack of music or screechy jump scare cues. He just appears in the silence,
04:30adding a highly unsettling sense of realism to the scene.
04:33Hello?
04:40Joseph?
04:47Hello?
04:49No. 26. They're Here. The Birds.
04:58Considered one of the finest thrillers ever made, The Birds is still effective all these decades
05:22later. And it's thanks to inventive sequences like this. Melanie Daniels takes a seat on a wooden bench
05:28in order to smoke a cigarette. Just as she's taking it out, a single crow lands on the playground
05:33behind her. This plays out in the background, and like Melanie, we think nothing of it. But then a few
05:39more arrive. And then a few more. The suspense builds, and just as the tension reaches a boiling
05:44point, both the audience and Melanie see that the playground is absolutely covered in crows.
05:50Turns out, this Alfred Hitchcock fellow is a pretty good director.
05:53Number 25. The Walking Figure. Chernobyl Diaries.
06:11Just urban legend, man. They say this place isn't really abandoned.
06:15Well, obviously the radiation hasn't killed everything.
06:18Brad Parker's Chernobyl Diaries has quite an interesting premise, with American tourists
06:23visiting the abandoned city of Pripyat, home to the famous Chernobyl nuclear disaster.
06:29Creepy shenanigans follow. In one effective sequence, four of the tourists are talking on a dark road,
06:35discussing the merits of the urban legends surrounding the creepy city. And just as they're discussing the
06:41weird goings-on of their trip, a figure walks silently past in the background. This goes completely
06:46unnoticed by any of the characters. Until it makes a noise, that is.
06:50I swear there was something in a photo I took the other day. I didn't think anything of it at the time, but
06:54yeah. See? There's the shadows.
06:57I don't- it didn't make sense at the time. Nothing had happened then.
07:00Listen. Listen. Okay? Listen.
07:02Listen. There's just something about being stalked in the dark that unlocks a primal fear response in
07:09all of us. And this scene effectively unlocks that response. Number 24. The Morning Walk.
07:15Shaun of the Dead. Do you want anything from the shop?
07:19Cornetto. Edgar Wright is a creative director, and he crafts a mesmerizing one-two punch with
07:25Shaun's morning walks. In the first go-round, Shaun stumbles to the corner store in a daze to pick up a
07:31coke. He's in his own world, barely noticing a single thing going on around him, which only
07:36makes the payoff that much more rewarding. Shaun later walks to the same store while he's hung
07:41over, only this time in the middle of a zombie outbreak. He mindlessly wanders past shuffling
07:47zombies, open doors, and bloody corpses, all of which are tucked away in the background of the
07:52scene. He doesn't even notice that the shop is completely barren, minus the zombie proprietor who
07:58emerges from the back room just as he's leaving.
08:01Nelson, have you got any papers? Nelson. I'll give you about 15p.
08:11Number 23. The Killer's Face. Deep Red.
08:15Considered a defining work in the giallo genre, Deep Red is full of brutal gore and inventive
08:30camera work, like hiding the killer in a mirror as it passes by. Psychic Helda Ullmann is murdered
08:35by someone wearing black gloves, and a passing jazz pianist named Marcus sees this from the street.
08:42He rushes to Helga's apartment in an attempt to help, passing through a hallway of mirrors and
08:47paintings. In one, the image of a woman's face can briefly be seen. This passes by unnoticed in the
08:53moment, but it soon becomes a major focus of the plot, and is referenced in the climax of the film.
08:59As we eventually discover, that woman was actually the killer hiding from the investigative Marcus.
09:05Number 22. The Vampire in the Shadows. Nosferatu.
09:12We've seen the Dracula tale played out a thousand times before, but Robert Eggers managed to film it
09:23in a fresh and unique way, resulting in the fantastically scary Nosferatu. Like the source
09:30novel, Dracula, sorry, Count Orlok, stows away on a ship and murders all of its inhabitants.
09:36Fearing for their lives, one crewman goes below deck to kill Orlok in his casket. He traverses the
09:42dark with just a single lantern to guide him, so you know something's about to go down. Sure enough,
09:48just as he's approaching the box, Orlok's decayed back can be seen slithering to life in the background.
09:54It's a stirring visual, and it nicely prepares us for the bloody violence that is about to come.
09:59Number 21. The Shark. Jaws.
10:09Stop playing with yourself, Hooper. Slow ahead, if you please. You heard him, slow ahead.
10:16One of the most famous jump scares in movie history occurs entirely in the background,
10:22which is really pretty genius when you think about it. You all know it. Brody is throwing
10:26bloody chum into the water, hoping to attract Jaws, while at the same time arguing with Quint
10:32and straying his eyes from the water. So naturally, he doesn't see the massive shark approaching.
10:38The brilliant thing about this scare isn't its suddenness, but the fact that you can actually
10:42see Jaws underneath the water for a split second before he emerges. It's a great little detail that
10:48foretells the coming jump scare, yet it catches us, and Brody, completely off guard.
10:56You're going to need a bigger boat.
11:07Number 20. Ghost Boy. Insidious.
11:10After the Lamberts move into a new home to escape this supernatural activity,
11:14Rene spots a little ghost boy through the window, dancing to tiptoe through the tulips.
11:19It's a creepy sequence, and it establishes that the supernatural activity has followed
11:29them to their new house. But did you know that the ghost can actually be seen before Rene spots him?
11:35After Rene starts the record, the camera follows her through the house as she tidies up. As she's
11:41tossing clothes in the laundry hamper, you can see the boy standing just to her left and facing the wall.
11:46Why he was doing that, we have no idea. But it made our hearts freeze, we can tell you that.
11:56There's something wrong with this place. I'm not imagining it. I can feel it. It's like a sickness.
12:02Ever since we've moved in, everything's just gone wrong.
12:06Number 19. An ambiguous figure. It follows.
12:10One of the most haunting moments of It Follows comes at the very end. Viewers are led to believe
12:19that Paul has passed on the sexually transmitted supernatural curse to a sex worker. But as Jay
12:24and Paul walk down a suburban street, seemingly safe at last, a figure soon appears in the distance,
12:30falling into step behind them. Is it someone out for a stroll, or is it the killer entity?
12:34Did Paul pass it on or not? Has the entity killed the sex worker and now returned for Paul?
12:40There's a lot of ambiguity to this scene. But that's what makes it so scary.
12:44If there's one thing the ending proves, it's that there's some things you can't outrun.
12:48Number 18. A Pale Face. The Woman in Black.
12:52This old-fashioned gothic horror story is complete with an Edwardian setting
12:55and a haunted estate called Eel Marsh House.
12:58The movie strikes a great balance between in-your-face jump scares and more subtle threats,
13:08as is the case with this scene.
13:10Daniel Radcliffe's Arthur Kipps sees a creepy face in an upstairs window,
13:13so he goes to investigate. He finds nothing in the room, but when he looks outside,
13:17the woman's face suddenly appears behind him in the window.
13:20The soundtrack definitely draws attention to it, but it's still a super creepy scene,
13:31and that pale, ghostly face will stick with you long after the credits roll.
13:35Number 17. Demon in the Picture Frame. Poltergeist.
13:39To watch Poltergeist is to discover a world of often disquieting behind-the-scenes insights.
13:44This horror franchise has had influence for more than 30 years,
13:52and can still be felt in pop culture today.
13:55One particularly horrific moment in the film occurs in the background in the scene,
13:59just before the spirits wreak havoc on the house.
14:02A group of normal family photos sit behind Jobeth Williams as she innocently blow dries her hair,
14:07but after the clown attacks her son Robbie, a ghost-like face has taken over one of the pictures.
14:14Number 16. Toshio in the Door. Juwan, the Grudge.
14:26Few villains can compare to the horrifying, pale, and wide-eyed Kayako Seiki.
14:31Seiki is the vengeful ghost that haunts the house in Nerima,
14:34and many of her scenes, like crawling down the staircase and hiding under the bedsheets,
14:39are now iconic. But there are also many subtle scares that are littered throughout.
14:43One of the best involves Toshio, also known as the Little Boy Ghost.
14:48While getting some fresh air outside the nursing home,
14:51Saito starts playing peekaboo with no one in particular, much to the concern of Rika.
14:56When the camera cuts to the glass door,
14:58we get a very brief glimpse of Toshio standing next to Saito in the reflection.
15:02It's enough to send chills down your spine.
15:04Number 15. The Psycho Car. Halloween H20. 20 Years Later.
15:09This slasher sequel was riddled with easter eggs and nods to horror history.
15:13One of the best comes when Laurie's secretary Norma drops by for a visit.
15:18Oh! Oh! Oh! Damn it!
15:20Oh! Oh, Miss Tate, I'm so sorry I didn't mean to make you jump.
15:25Norma is played by Jamie Lee Curtis' mother Janet Leigh,
15:28who starred in the seminal Psycho as Marion Crane.
15:31The iconic Psycho Car can be spotted in the background as Norma talks to Laurie at the academy.
15:36We've all had bad things happen to us.
15:39The trick is to concentrate on today.
15:43The car is later made the clear focus of attention as Norma departs and wishes Laurie a happy Halloween.
15:49Happy Halloween!
15:52It's a creepy, self-referential nod to both Lee and the genre's past.
15:57Even her character's name, Norma, is a not-so-subtle allusion to Psycho's famed antagonist, Norman Bates.
16:04Number 14. The Party. Jacob's Ladder.
16:07Adrian Lyne's classic Jacob's Ladder is full of surreal sequences,
16:11including this scene in which Jacob attends a party.
16:14According to this, you're already dead.
16:18Things begin innocently enough as everyone dances to the glorious funk of James Brown.
16:23But things inevitably go to hell as Jacob begins experiencing disturbing visions.
16:28The main focus of the scene is Jezzy dancing with some kind of tentacle monster.
16:36That's certainly disturbing, but what makes the sequence even scarier
16:39are the people innocently dancing in the background,
16:42completely oblivious to Jezzy and the tentacle.
16:44It makes the scene that much more surreal and unsettling,
16:51capturing the distinctly helpless feeling often experienced when having a nightmare.
16:56Number 13. The Approaching Truck. Jeepers Creepers.
17:00Those bodies down there, that's what it likes to call it.
17:05It's House of Pain.
17:07This monster movie received mediocre reviews from critics,
17:10who mostly denounced the cliches and silly monster action.
17:15That said, most agreed that the film had a very encouraging start.
17:18And that's largely due to the brilliant opening sequence.
17:22As Trish and Derry drive home for spring break,
17:24they are tormented by an erratic driver in a rusty truck.
17:28That alone is scary enough, but what makes the sequence even more unsettling
17:31is the subtle way in which the truck approaches the protagonists.
17:35I wanted to cry, didn't know you were evil, or that you would hurt me.
17:43It begins as an indistinct blur in the background,
17:46before slowly growing in stature, coming into focus and blaring its horn.
17:53What is this?
17:58What the hell is this problem?
18:00Just get out of his way, Derry!
18:01It's a wonderful way to introduce the movie's villain,
18:04and it makes for a gloriously creepy opening scene.
18:07Number 12.
18:08The Ghost.
18:09Lake Mungo.
18:10It was a somber day for the family and friends of Alice Palmer,
18:13who gathered to pay their final respects to a young woman, taken too soon.
18:18At its core, Lake Mungo is a ghost story about a deceased girl named Alice,
18:22attempting to communicate with her family.
18:24Believing that her ghost has passed on,
18:26Alice's family decides to move out of the family home to start a new life.
18:31However, the ending photo shows Alice's ghost forlornly looking from the window,
18:40a creepy background detail that proves Alice hasn't moved on.
18:43What makes the ending even better are the credits themselves,
18:50which show various sightings of Alice's ghost throughout the movie
18:53that went unnoticed by the characters and viewers.
18:56It's meant as a thematic statement,
18:58but it's also utterly shocking and terrifying to realize
19:01that the ghost was there the entire time, right under your nose.
19:04Number 11.
19:05The Club.
19:06Black Swan.
19:06Darren Aronofsky's psychological horror film Black Swan
19:15is another movie with a terrifying dance sequence.
19:18And though this one is much more difficult to make out owing to the darkness,
19:22strobing lights and rapid cuts,
19:24the scene is packed with subtle scares that risk going unnoticed.
19:30These include Rothbart and the White Swan standing in the background behind Nina,
19:34Beth standing between Nina and Lily,
19:36and Thomas eerily changing into Rothbart.
19:44It represents fantastic directing from Darren Aronofsky
19:48and editing by Andrew Weisblum,
19:50disorienting and disturbing viewers in ways both apparent and subliminal.
19:54Number 10.
19:55The Hanging Munchkin.
19:56The Wizard of Oz.
19:57This movie is historic,
19:59and it just happens to contain one of the most ubiquitous legends in film history.
20:04No, I know we're not in Kansas.
20:07We're talking, of course, about the so-called Hanging Munchkin.
20:10As Dorothy and her ragtag group head towards Emerald City,
20:14you can supposedly see a munchkin hanging from a tree.
20:17Legend says that an actor had killed himself during filming,
20:20and his hanging corpse had accidentally made its way into the movie.
20:24We're out to sing the wizard,
20:26the wonderful wizard of Oz.
20:29In actuality, the corpse is just a big bird
20:32that was borrowed from the Los Angeles Zoo
20:34and allowed to roam the set to give it a more authentic appearance.
20:38Regardless of the truth,
20:39there's no denying the staying power and inherent creepiness
20:42of the suicidal munchkin legend.
20:44You're out to see the wizard,
20:47the wonderful wizard of Oz.
20:48Number 9, Tyler Durden, Fight Club.
20:52Sure, Fight Club isn't a scary movie per se,
20:54but there's some creepy stuff going on.
20:56Hey, come on. I'm in pain.
20:58You want to see pain?
21:00Swing by First Methodist Tuesday nights.
21:03See the guys with testicular cancer.
21:05That's pain.
21:07Before we're introduced to Tyler Durden on the plane,
21:09he can be spotted in the hospital,
21:11the support group,
21:12on the street,
21:12and in the narrator's office.
21:14We really open ourselves up.
21:17Could you find a partner?
21:18Each flash is very brief,
21:20almost imperceptible,
21:22but it would surely come as quite an eerie shock
21:24for all of those who did manage to spot him.
21:26It's enough to make viewers question their sanity,
21:29especially since, at this point,
21:30they don't know who this man is
21:32or why he keeps popping up.
21:33Of course, it's meant to foreshadow
21:35the narrator's mental disorder
21:36and the eventual plot twist,
21:38hammering home the absolute brilliance
21:40of director David Fincher.
21:41You created me.
21:42I didn't create some loser-altering ego
21:44to make myself feel better.
21:46Take some responsibility.
21:47I do.
21:48Number eight.
21:49The Demon's Face.
21:50The Exorcist.
21:51The Exorcist is widely heralded
21:53as the scariest movie of all time,
21:55yet it isn't really about the exorcism itself.
21:58How are you, Mama?
22:01I'm so glad to see you.
22:02You look good?
22:03I'm all right.
22:05How's it like?
22:06How about you, Demi?
22:07You are all right?
22:08I'm fine, Mama.
22:08It's more about Father Damien Karras'
22:10crisis of faith
22:11and the deep feelings of guilt
22:13that he harbors regarding his mother's death.
22:15In one of Karras' creepy dreams,
22:17he tries waving to his deceased mother
22:19as she emerges from the subway.
22:21Right before Karras runs towards her,
22:23the screen very briefly flashes
22:25with the ghastly white face of the demon.
22:34It's incredibly subtle,
22:36and it makes viewers question
22:37if they even saw anything in the first place.
22:40This was fully intentional
22:41by director William Friedkin.
22:43We may ask what is relevant,
22:45but anything beyond that is dangerous.
22:48He's a liar.
22:49The demon is a liar.
22:50He will like to confuse us.
22:53But he will also mix lies with the truth
22:57to attack us.
22:59Number seven.
23:00The Doll.
23:01Blue Velvet.
23:02Dennis Hopper gives one of the finest performances
23:04of his storied career
23:05in David Lynch's Blue Velvet.
23:08Oh, Mommy.
23:10Mommy.
23:12Mommy.
23:13Mommy loves you.
23:15He plays Frank Booth,
23:16an extremely violent and unhinged criminal
23:19who keeps Dorothy Vallon's family hostage
23:22so he can use her as a slave.
23:24He keeps them confined in the apartment
23:26belonging to a criminal associate named Ben.
23:28Ben's apartment contains a creepy doll
23:30with a white face, black eyes,
23:32and women's clothes.
23:41I'm surprised you brought your friends.
23:44I love surprises.
23:46Like the upside-down paintings
23:47in Lynch's Lost Highway,
23:49this doll is given no explanation
23:50and is never acknowledged
23:52within the context of the movie.
23:53It's just another one of Lynch's creepy
23:55and mysterious details
23:57that lends the movie a disturbing atmosphere.
23:59Blue Velvet.
24:04Number 6.
24:05The Ghost Boy.
24:06Three men and a baby.
24:07This movie contains what is perhaps
24:09the greatest urban legend in movie history,
24:11even greater than that of the hanging munchkin.
24:13You pick her up like a pro.
24:15I pick her up like a grandmother.
24:18During a scene in which Jack and his mother
24:20walk through the house,
24:21a very creepy human figure can be seen
24:23standing behind the curtains
24:24and staring at the passing characters.
24:28For a moment there,
24:29I had her laughing.
24:30Yeah, just like me, huh?
24:32For unsuspecting viewers,
24:34it's enough to make you scream,
24:36and an urban legend quickly spread
24:38claiming that the figure
24:39was the ghost of a young boy
24:40who ended his life in the house.
24:42However,
24:42the Ghost Boy is actually just a cardboard cutout
24:45of Ted Danson's character.
24:47The cutout is clearly seen later in the film,
24:49this time in far less creepy form.
24:52Number 5.
24:53Michael Drives By.
24:54Halloween.
24:55Michael Myers is one of the most iconic killers
24:57in movie history.
24:59As such,
24:59it's kind of hard to imagine him
25:00just driving through town
25:02like any other citizen,
25:03but that's exactly what he does
25:04throughout the movie.
25:05Morning, Miss Tate.
25:06Morning, Norma.
25:07Mail and messages are on your desk.
25:09One of the most creative scares
25:10comes when Sheriff Brackett and Loomis
25:12are talking on the sidewalk.
25:13Just before Brackett leaves the shot,
25:16a car can be seen stopping
25:17at the train tracks in the background.
25:27Keen viewers may spot Michael's iconic mask
25:29looking out from the windshield,
25:31but he becomes even more obvious
25:33when he drives by Loomis.
25:34It's a perfect representation
25:35of the movie's horror.
25:37Evil is always here,
25:38lurking and watching,
25:40even in broad daylight.
25:41Number 4.
25:42Annie on the ceiling.
25:43Hereditary.
25:44Horror movies have different ways
25:46of scaring their audience,
25:47and Hereditary uses just about all of them.
25:50There are upfront in-your-face scares,
25:52there are grotesque images,
25:54and there are scenes requiring
25:55audience perception.
25:57After Annie inadvertently burns Steve alive
25:59and gets possessed,
26:00Peter wakes up in the darkened
26:02and eerily silent house.
26:03As the camera cuts to a long shot
26:05of his bedroom,
26:06viewers can spot Annie
26:07hovering in the corner of the ceiling
26:09and staring at Peter.
26:15What's great about this sequence
26:17is that it doesn't draw attention
26:18to Annie's presence.
26:20The audience is simply left
26:21to spot her on their own.
26:22And when they do,
26:23they are given the scare of a lifetime.
26:25Number 3.
26:35The Stranger.
26:36The Strangers.
26:37There have been many slasher
26:38and home invasion movies
26:39throughout the years,
26:40but there's something particularly
26:41unsettling about Brian Bertino's
26:43The Strangers.
26:44Inspired by the infamous Tate murders,
26:52this movie cuts to the core
26:53of our most primal fears.
27:02It is exemplified in the shot
27:04of a shadowed stranger
27:05standing behind Kristen.
27:07It's easily the most famous image
27:08from the movie,
27:09even making the theatrical poster.
27:11It not only plays in our fear
27:12of domestic intrusion,
27:13but also of being watched
27:15without our knowledge.
27:16It's the reaction of looking
27:17over your shoulder
27:18made into visual form.
27:20And it is absolutely horrifying.
27:26Number 2.
27:27The Falling Satellite.
27:29Cloverfield.
27:29This is the mother
27:30of all background details,
27:32so subdued and indistinguishable
27:34that we wonder how anyone
27:35even spotted it at all.
27:37The movie ends with old footage
27:38of Rob and Beth
27:39filming themselves at a carnival.
27:41What do you want to say?
27:41What do you want to say?
27:42Last thing to the beginning.
27:43I had a good day.
27:47It seems like a bittersweet ending,
27:50reminding viewers of happier times.
27:52But there's another reason
27:53behind its inclusion.
27:54If you look very closely,
27:56and we mean very closely,
27:57you can see a satellite
27:59falling from the sky
28:00and crashing into the ocean.
28:01This is a satellite
28:02called Chimpanse 3,
28:04and it was included
28:05as a reference
28:06to the movie's viral marketing campaign.
28:08However, others posit
28:09that it could be the monster itself
28:11arriving from space,
28:12the escape pod
28:13from the Cloverfield Paradox,
28:14or even a fragment of the Shepard.
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28:381. The Librarian
28:41It
28:42Most people know It
28:44for Pennywise's abrasive
28:45and confrontational
28:46method of horror.
28:47This isn't real enough
28:48for you, Billy.
28:51I'm not real enough for you.
28:53Holy shit.
28:55It wasn't real enough
28:56for Georgie.
28:58Ha ha ha ha!
28:59RAAA!
29:00But there's one scene
29:01in the movie
29:01that takes a far more
29:02subdued approach,
29:04and it's arguably scarier
29:05than anything Pennywise
29:06could have concocted.
29:07While Ben is reading
29:08about Derry's past
29:09in the library,
29:10the elder librarian
29:11can be seen in the background
29:13turning towards Ben
29:14and staring at him
29:15with a deeply unsettling grin.
29:26She remains out of focus
29:27the whole time,
29:28and the movie never highlights
29:29her disconcerting behavior.
29:31It's an ingenious little detail
29:32that shows the evil
29:33permeating throughout Derry
29:35and proves that no one
29:36is ever safe.
29:37Even when they think they are.
29:39Now that's how you do horror.
29:51Did you happen to notice
29:52any of these on your own?
29:54Let us know in the comments.
29:55Did you enjoy this video?
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30:14You