The 10 biggest OMG movie moments ever: Shocks, surprises and WTFs

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100 film moments
Emerging From the Sea. Does it start with the script? Movie The Princess Bride. By positioning the abduction through the prism of that most primal of connections, the bond between mother and child, it's an alien abduction at its most personal; guaranteed to resonate with all who see it, and gluing you to your seat in a way that only classic Spielberg knows how. Then you don't know Norma Desmond, or this scene. Movie The Good, the Bad and the Ugly. But amidst a movie full of powerful emotional gut-punches and devastating heartbreak, there is one symbolic and piercing character that quite literally stands out - a little girl wearing a bright red coat in an otherwise two-tone landscape.

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50 Greatest Movie Scenes Of All Time

Widely recognised as one of the greatest gangster movies ever made, Raoul Walsh's mini-epic boasts not only a place in the National Film Registry but a line of dialogue that sits at number 18 on the American Film Institute's list of the greatest movie quotes.

Deranged and disturbed in every way, the only place criminal gang leader Cody Jarrett James Cagney can find relief from his mental headaches is in the Oedipal embrace of his mother.

When she dies, he becomes even more unhinged, spiralling out of control and leading to a climatic police standoff atop a giant gas storage tank. Cornered and outnumbered, and with the tank about to explode, he bellows the infamous line to the heavens, just in time for the whole thing to go up in flames. In turns defiant, heroic and utterly insane, it's a grand-standing and fitting end to an iconic anti-hero that ushered in a brand new Hollywood age.

While there have been countless World War II movies both preceding and since its release, Saving Private Ryan's opening salvo still dominates the genre with its unflinching, terrifying and utterly horrific portrayal of the storming of Omaha Beach.

The moment the first landing craft opens its doors, countless soldiers are wiped out, gunned down, obliterated and dismembered. Seen from the up close and stomach-turningly personal point of view of Captain John H.

Miller Tom Hanks , it's a calculated lesson in emotional shock and awe. By lingering on the pained looks and petrified bewilderment of the soldiers as they're mercilessly cut down, Spielberg transforms a history lesson you've heard a hundred times into something shockingly personal - with no score bar the gunfire and explosions of the fight, it's a scene that conveys the unrelenting and mindless slaughter of war in the most affecting way possible.

Ask your well-schooled moviegoer to pick their favourite Steve McQueen scene, and they'll be spoilt for choice. But when it comes to the coolest moment we bet you there's one that'll be picked time and again.

The thing that persuaded him? His demands that he'd get to ride a motorcycle during filming. Luckily for both the audience and McQueen, it was a move that would pave the way for one of cinema's most legendary escape scenes. On the run from the prison and outflanked on all sides, Hilts finds himself mere yards from the Swiss border and freedom. With the Nazis moving in, he takes an almighty run-up and single-handedly lifts the bike over a six-foot barbed-wire fence in a pay-off moment that elates with fist-pumping conviction even if the second fence proved one hurdle too many.

On paper, you can't deny that 'time-travelling car' doesn't sound like the most exciting sell for a big budget sci-fi adventure. But the way in which Robert Zemeckis ramps up to and then executes the DeLorean's thrilling inaugural time jump continues to leave us giddy to this day. After strapping a bling-plated dog into the driving seat of a DeLorean, Marty's Michael J Fox left as baffled as the audience about what's going on as Doc Brown Christopher Lloyd excitedly remote controls the car into position.

As it rockets towards them and finally hits the 88mph barrier, it crackles with energy, fizzles with light and vanishes in a ploom of smoke into the past, leaving nothing but scorched earth, a spinning license plate and dropped jaws in its wake. Bonkers and utterly riveting, it was a special effect that encapsulated the wonder, magic and thrill of cinema at its best.

You look at Arnie, Sly, Jean-Claude and the rest of the '80s muscle-heads, and you see characters primed and built for an action hero future. Bruce Willis' un-six-packed, white t-shirt wearing, wise-cracking New Yoiker had a disregard for authority that explained itself perfectly in a walky-talky showdown with smarmy villain Hans Gruber.

It was a line delivered so flippantly, so cockily and so humorously, it became an instant McClane catchphrase and endeared the character to action fans everywhere. It's a sign of its cinematic importance that when the fourth Die Hard had its rating slashed, fans erupted with fury at the possibility of the line being cut it was eventually included but partially drowned out by gunshot.

Despite the iconic suit and crimson cape, the coiffed hair and the mountainous muscles, DC Comics knew that the Man of Steel's future big screen career would all hinge on perfecting one key stunt - if they could sell the sight of Superman flying through the air, they'd win over multiplex audiences and comic nerds alike the teaser poster alone touted the impressively bold tagline 'You'll believe a man can fly'.

Of course, the famous helicopter scene, wherein Superman swooshes skyward to scoop up a plummeting Lois Lane in one hand and catch a falling helicopter in the other, is now movie magic history. John Williams' score is in perfect chest-swelling sync with each of director Richard Donner's well-timed moments of heroism - from Christopher Reeve's convincing transformation and his pre-CGI take-off to Lois's stunned disbelief.

As he zooms off into the dark of the night, you're left as awestruck now as you were the first time you saw it. Way back in the heady days before Men Are From Mars, Women Are From Venus, Sex and the City, and metrosexuality otherwise known as , the gulf between men and women - and specifically what made each other tick - was as baffling as ever. Rob Reiner's classic rom-com went some way to crossing the language barrier, with Billy Crystal and Meg Ryan portraying the titular best friends tasked with self-helping each other through love's nonsensical maze.

With a predominately Harry-heavy script, Reiner decided he needed something for Sally to talk about. What he got was a scene everybody would be talking about, as an escalating spat about fake orgasms and a man's ability to spot them prompts Meg Ryan to, shall we say, emote. Captivatingly expressive and libido-shreddingly realistic, the deadpan line that cap-ends and elevates it to movie history was delivered by none other than Rob Reiner's elderly mother.

Inspired by an awe-inducing childhood experience with a meteor shower in New Jersey, Steven Spielberg embraced and then expertly manipulated sci-fi cliches to magnificent effect in a scene that finds a single mother desperately struggling to save her toddler from abduction.

After a glowing, unnervingly silent approach, Spielberg turns the screw with all the nerve-shredding tension of a horror movie, and the house siege soon ramps up the creepiness with lights, noises and household appliances springing to life.

By positioning the abduction through the prism of that most primal of connections, the bond between mother and child, it's an alien abduction at its most personal; guaranteed to resonate with all who see it, and gluing you to your seat in a way that only classic Spielberg knows how.

A flop on its initial release, Blade Runner is a film that's reputation has grown as steadily as its following. Harrison Ford plays Deckard, an LAPD special agent charged with the task of hunting down and retiring 'replicants' - robots who look like humans but have superior intelligence, strength and agility.

Roy Batty is one such replicant, whose only wish is to extend his limited life-span. As he comes to the grim realisation that his days are numbered, and as his life-force slips away, Batty saves Deckard's life before launching into one of the most famous speeches in film history. As magical and mysterious as the machine from which they come, the words are a rousing celebration of life, and a fitting epitaph to one of cinema's most wondrous characters. For anyone not quite sold on the Western genre, we advise you sit back, strap yourself in and prepare yourself for a movie that truly puts as much Wild into the West as it does its titular bunch.

Sam Peckinpah's action extravaganza about a group of grizzled outlaws on the verge of retirement taking 'one last job' was a phenomenon upon its arrival.

While Roger Ebert championed the Western as a 'masterpiece', its gratuitous violence was exceedingly graphic for the time and left many shocked. Despite its groundbreaking cinematic effects it was a landmark moment for the advent of slow-mo , and its layered and flawed heroes, it was the bloodshed that grabbed the headlines - and rightly so.

The gunfights that bookend the movie are as classic as they come, although its the desperate finale that impresses for the sheer scale and ruthlessness of its execution pun entirely intended. Ken Kesey's seminal novel One Flew over the Cuckoo's Nest is told from the perspective of the laconic native American, and it is therefore fitting that the film's ending should focus on his reaction to McMurphy's horrific mutilation.

He mercifully suffocates what's left of McMurphy, and using all of his strength -- he's "as big as a damn mountain" -- uproots a marble hydrotherapy console from the bathroom, uses it to break through a grated window and runs to freedom.

An unforgettable moment in an unforgettable movie. The ingredients for the most iconic car chase in movie history: Four cars - two of each - were used in the making of this scene, but by the end of filming, three were sent to the junk yard despite heavy modifications. The shoot for this scene alone, which runs to 9 minutes 42 seconds in total, took over three weeks to film.

Yes, pedants have tiresomely reported that the chase is geographically inaccurate, but in the end none of that really matters. Nothing comes close to Bullitt's car chase for sheer excitement, and it's remained a blueprint for car chases ever since.

One sign of a great film moment is how often that moment has been copied and parodied in other works. Director Philip Kaufman may not have been the first one to discover that having a group of guys walk towards the camera in formation almost always looks cool, but he made it an iconic statement that has become part of the language of film.

It didn't hurt to have composer Bill Conti providing some heroic music in the background for the astronauts to walk out to.

In context, this scene speaks to the achievements of the space program and reinforces the idea that these seven brave men were the best of the best.

Movie moments don't get much more entertaining than this. Two movie legends verbally sparring with each other until one of them lets his guard down, allowing the other to deliver the killer blow in spectacular fashion.

Tom Cruise plays Daniel Kaffee, a cocky young naval lawyer who spends the film's finale endeavouring to convince Jessop to admit that he ordered the 'Code Red' that led to the death of an officer. Culminating in a classic courtroom showdown, Aaron Sorkin's super-sharp script allows both men to flex their sizable acting muscles until Nicholson finally snaps, delivering the "You can't handle the truth" speech that finally, dramatically condemns him.

Perhaps the crowning achievement of a remarkable acting career, Robert De Niro's performance as Jake LaMotta in Raging Bull is one that almost defies belief. That includes the intensity of the scenes with his wife and brother, the brutality of the boxing sequences, and most famously the weight gain for the moments that book-end the film, including the one that we have picked here. It was De Niro's idea to use pasta rather than prosthetics to pile on the pounds, the actor ballooning from to not to grandstand or win an Oscar, but to feel what the former boxer felt.

As for this final scene, with LaMotta talking to himself in a dressing room mirror before heading onstage to do his routine, the script originally called for him to recite Shakespeare. Director Martin Scorsese decided that dialogue from On the Waterfront was a more fitting choice for LaMotta however, and after nearly 20 takes De Niro nailed it, concluding the film in heartbreaking fashion.

Spike Lee's stirring drama takes place in Brooklyn, on the hottest day of the year, and centers on African-American Mookie played by Lee himself and Italian pizza shop owner Sal Danny Aiello. Both are on each side of a racial divide that splinters with bigotry and hate the hotter the city gets. All of it boils over in a violent, almost poetic way, when Mookie smashes Sal's shop window with a trash can. In or out of context, this scene is one of Lee's best and one of film's most defining moments.

Paul Newman is one tough mofo as Luke, a World War II vet who winds up on the wrong side of the law and gets thrown into a harsh prison camp in Florida. Despite efforts to crush his spirits, Luke endures and makes his escape, but is eventually caught and returned to captivity. In this famous scene, the ruthless Captain of the camp Strother Martin makes an example of him in front of the other prisoners.

And in the process, an eternally quotable line of dialogue was born. One of the most amazing aspects -- among the many, many amazing aspects -- of Stanley Kubrick's A Space Odyssey is the film's ability to make us care more about the sentient computer HAL than we do about the humans in the movie.

HAL, who doesn't even have a body to speak of just an ever-glowing red eye , also happens to be a homicidal maniac who murders most of his shipmates during their mission to Jupiter. And yet, we feel bad for the machine when sole survivor Dave Bowman disconnects HAL in a painstaking scene that sees the computer slowly lose his mind. No speech from a s movie is perhaps more quoted and, worse, misunderstood than this decade-defining tirade made by shady business mogul Gordon Gekko played by Michael Douglas in an Oscar-winning turn.

Talk about not paying attention during a movie. It's reported that Walt Disney wanted to cut the famous 'Bella Notte' spaghetti scene -- now one of the defining Mouse House moments. It's a pivotal time in the budding romance between Tramp and Lady. And it's perhaps most famous for the accidental kiss between the two, as they unwittingly slurp the same strand of pasta. But it's Tramp's selflessness over the last meatball that secures him the heart of Lady. It plays out without dialogue, but the animation perfectly captures their yielding body language and longing glances.

Luckily, someone persuaded Walt to change his mind. John Ford's masterpiece ends the way it began; as the tale starts, a door opens in darkness to reveal the light and majesty of the Old West landscape outside. And as the film comes to a close, that same door is shut, the story over, while John Wayne's antihero Ethan Edwards is left alone on the outside, walking off in the distance.

The film offers an ostensibly happy ending -- Edwards is successful in saving his niece from the Indians who abducted her years earlier -- and yet our protagonist is essentially left out in the cold while everyone else gets to go home.

Is it because he's as "savage" as those who had kidnapped his niece, a Confederate relic from a war long since over who has no place in modernity? Because he's a lone gun, eternally destined to wander? Maybe Ford just thought it looked cooler this way, but it's a telling moment -- and a truly iconic one.

What a team Paul Newman and Robert Redford made back in the day, especially in the hands of George Roy Hill who also directed their other great screen collaboration, The Sting. After a botched train robbery, Butch Newman and Sundance Redford are forced to go on the run, but they are doggedly pursued by a posse they can't seem to shake. Faced with fighting their way out of a rough spot or jumping over a cliff into a river, the two of them have one of the best exchanges of dialogue ever filmed, capped off by a pretty impressive stunt.

This movie shouldn't work. Michael Cimino's Vietnam character study spends more time in the blue-collar Pennsylvania town where its characters call home than it does in the jungles fighting VC.

It moves at a very deliberate pace and without much flash. But the movie does work, making us care about every character and dynamic in the film with its slow-burn approach. But Michael goes back to save his friend, engaging him in a game of Russian Roulette that sends grown men to tears every time that last shot is fired.

Heartbreaking and unforgettable are understatements. As far as uplifting endings go, It's a Wonderful Life takes the cake. After being shown how life in Bedford Falls would have proceeded if he had never existed, Jimmy Stewart's George Bailey decides "I want to live again!

And live he does. And thanks to the magic of Christmas, his problems are happily resolved as the whole town turns out to support him.

It's one of those moments that keeps It's a Wonderful Life on the must-see list every Christmas. The bloody climax to this anti-establishment crime caper starring Faye Dunaway and Warren Beatty is still one of the best death scenes of all time.

The power of the ambush is in its abrupt and brutal nature, interrupting a serene drive that lulls the audience, and the notorious outlaws themselves, into thinking they just might get away with it all.

Take a bite of that tasty apple, Bonnie! It will be your last Director Arthur Penn masterfully mixes slow motion with quick shots of the couple as they are riddled with bullets.

It just proves that everyone dies more spectacularly in slow motion. Few scenes in mob movies are by turns funnier and scarier than when deranged gangster Tommy DeVito Oscar winner Joe Pesci suddenly flips a switch and goes from being a ball-busting pal to an enraged, potential attacker after feeling mocked by his pal Henry Hill Ray Liotta during a night out with the boys.

What makes it even scarier is that he's just effin' with all of them. If this was Tommy's idea of a joke then we knew we sure as heck didn't want to see him when he was really offended. This scene, so the legend goes, wasn't inspired by the real-life gangster DeVito was modeled after but rather on an episode Pesci had personally witnessed while with his friends.

Geez, Joe, with friends like that. That one line uttered by the adorable Heather O'Rourke scared the bejesus out of an entire generation of filmgoers — and made us never look at a static-filled TV screen the same way again.

The idea of ghosts not only targeting such a sweet and innocent little girl but also communicating to her through a seemingly benign television set worked on viewers' psyches on a number of levels. Few horror movies have yielded such a simple yet powerful and eternally memorable tagline as this.

The Exorcist may have had spinning heads and Psycho its shower scene, but there's just something so darned eerie and unsettling about the singsong nature of a child's voice in a horror movie. The moonlit, cobblestone streets of Vienna.

The cat licking itself. Anton Karas' indelible zither score. That eternal twinkle in Orson Welles' eye… All of these elements conspire, like Harry Lime's partners in crime, to create one of the most memorable, goose bump-inducing moments in screen history.

The scene is all the more enthralling because Welles' Harry has been thought dead by the audience for the first hour of the film, before finally showing up in that dark alleyway to rock everyone's world. Finally, after hearing endless talk about Harry Lime this whole time, we get to meet him. And he does not disappoint. James Bond's first big-screen adventure is full of Sean Connery kicking butt, smoking unfiltered cigarettes gasp!

But all of this is nearly overshadowed by Ursula Andress stepping out of the surf and onto the beach, sporting the sexiest bikini the s had ever seen. This scene is arguably more iconic than the series' signature "gun barrel" opening, and it was a tough call between the two. But we had to make a Sophie's Choice; for some reason, whenever we think of , we think of his first Bond Girl. Patton played by George C. Scott, opens with this gripping speech, one that sets the tone for the entire film.

Almost stage play-like in its execution, the flag speech establishes that Patton is not only the center of attention, but also a larger-than-life persona with an inflated sense of himself.

Like the film itself, this moment captivates both hawks and doves alike who can view Patton as either a red-blooded patriot or as an ego-driven warmonger. The 'Match Cut' is a cinematic technique in which two different shots or compositions are linked together by an object or concept, so that the scenes can be unified both literally and metaphorically. In this instance director David Lean starts the sequence with one of his characters referring to the desert as a "burning, fiery furnace" before making the transition from Lawrence blowing out a match to the sun rising in said desert.

It's a stunning movie moment, and Lean's pictures are littered with such flourishes, cementing his reputation as one of cinema's greatest visual storytellers. And if that weren't enough, Steven Spielberg has admitted that the beauty of the sequence is what first inspired him to want to make movies.

Sergio Leone's sprawling, epic Civil War-era Western is equal parts exciting, tragic and funny, but it's the final three-way gunfight between the title characters that earns it a place on this list. Clint Eastwood's "Good" faces off against Lee Van Cleef's "Bad" and Eli Wallach's "Ugly" in a desert cemetery, the site of the buried gold that the trio have been searching for throughout the film. For almost five full minutes of foreplay, the three position themselves silently, staring at one another, caressing their pistols, readying for the moment when all will be decided, while Ennio Morricone's now-famous score jangles on, ratcheting up the tension before… BLAM!

The first and only X-rated film to win the Academy Award for Best Picture, Midnight Cowboy hit screens in , at the turn of a decade that would change American cinema forever, with Martin Scorsese, Francis Ford Coppola and the like following director John Schlesinger's lead in making films that were representative of a very different set of ideals and principles to their predecessors. Cowboy was the perfect illustration of this sea-change in attitudes, a depiction of the friendship that develops between two young hustlers stealing, conning and trading in sex in an effort to survive in New York.

Nowhere is this more evident than when Dustin Hoffman - playing the tragic 'Ratso' Rizzo - shouts "I'm walkin' here" to a passing cabbie who nearly hits him with his car. A line that is rumoured to have been improvised at the time, it sums up the movie in a moment, and perfectly encapsulates the attitude and swagger of the films that would follow.

Arguably the greatest actor of the 20th Century, Marlon Brando is at the very top of his game in On the Waterfront, playing Terry Malloy, a former boxer doing battle with both his own conscience and the corrupt union bosses running the waterfront. The film itself has been the subject of much controversy, with many seeing Terry's heroic testifying against the unions as director Elia Kazan's justification for his own appearance before the House Committe on Un-American Activities where he identified several former Communists.

But politics aside, the scene is an acting tour de force, with Brando practically weeping as he recounts how different his life would have been if his brother hadn't encouraged him to throw a fight. I coulda' been a contender. I coulda' been somebody. Instead of a bum, which is what I am.

Hannibal Lecter has proven to be such an enduringly popular villain because he manages to be charming and magnetic in addition to ruthless and cold-blooded. Viewers of Silence of the Lambs learn that firsthand when they and Clarice Starling meet Hannibal for the first time There's nothing creepier and more intriguing than a man who practices casual cannibalism.

This quiet moment is more effective than later scenes of Hannibal actually killing and feasting on his prey. Tony Montana played by Al Pacino at his scenery-chewing best says and does many outrageously memorable things throughout director Brian De Palma's cocaine-drenched remake of the gangster classic, but none are as iconic or oft-quoted as this macho last stand. James Cagney may have had "Top of the world, Ma!

Tony may have taken a slew of his enemies with him, but he might have lasted longer had he had a few more "little friends" on his side — and the good sense to mind his surroundings. His bloody, profane and epic downfall remains one of the greatest exits in gangster movie history. Long before he made our day, Inspector Harry Callahan made us all think long and hard about whether he'd fired six shots or only five.

This wasn't Clint Eastwood's first scene in the film, but hotdog-munching Harry's coolly efficient dispatching of a group of thieves is how he'll always be best remembered. It was also one heck of a sales pitch for the Magnum.

It was also all the justification the character's critics needed at the time to brand him a fascist. It would be over a decade before Harry — who didn't invent the action hero one-liner that was James Bond but sure did perfect it — would utter another line that even came close to outdoing this gem of a moment. A bored suburban housewife asks you to drive her home, gives you a drink, puts on some sultry latin tunes and tells you her husband won't be home for hours, and there's still a question in your mind?

She is trying to seduce you. As if to drive the point home, director Mike Nichols frames the shot right through Anne Bancroft's shapely and deliberately posed legs. After all that, we can't really blame Dustin Hoffman's character for going for it. Here's to you, Mrs. Like so many of the moments on this list, Marlon Brando's rendition of Stanley Kowalski screaming the name of his wife, with a torn shirt and wet hair, has been frequently parodied.

But the original remains ever-powerful. Brando narrowly missed out on the Oscar in to Humphrey Bogart, but you'll wonder why as he screams the name 'Stella,' hands pressed to his temples.

She eventually thaws, and walks down the spiral staircase to forgive Stanley, who carries her off like a brute. Yes, she's technically still alive, but she's trapped in the past, the era when she was young, beautiful and famous in Hollywood. Now, she's just a shadow of that former greatness, trapped in the faded glitter of a career long since forgotten by everyone else. In the end, this existence leads to murder, though for Norma it's a chance to return to the spotlight.

As news cameras surround the deluded killer, she thinks she's back to making pictures. Norma is, indeed, ready for her close-up. And while she doesn't know it, it's a close-up that she never gets.

It's the cry of every modern man and woman who feels powerless against the system: And I'm not going to take this anymore! Maybe they're even more true today than in , when "mad prophet of the airwaves" Howard Beale Peter Finch first uttered them in Sidney Lumet's freakishly prescient satire of the television news industry.

In a crazy world, sometimes it takes a crazy man to tell the truth. When Dorothy opens her drab farmhouse door onto the vibrantly-colored world of Oz, she and the audience are instantly transported far over the rainbow into another world.

Originally, the startling transition was to be achieved through a laborious process in which each frame was to be hand-painted. But an ingenious solution was found: The inside of the farmhouse was painted sepia and Dorothy's gingham dress was dyed a similar shade, producing a near-identical effect.

As Dorothy takes her hesitant first steps into Oz, the camera curiously explores the unusual wonders of this bizarre new landscape. We learned a lot of things from the Godfather movies. Leave the gun, take the cannoli. Don't ever take sides against the Family.

Keep your friends close but your enemies closer. Anyone can be killed. And if a family member kisses you on the lips and says "I know it was you," don't get into any fishing boats with suspicious men.

Moses' played by the one and only Charlton Heston parting of the Red Sea during the Israelites' exodus from slavery in Egypt — and the subsequent watery destruction of Pharaoh Rameses II's Yul Brynner pursuing army — is not only one of the most famous images and powerful passages in the Old Testament, it is also one of the most iconic and oft-parodied moments in film history.

Furthermore, it is a milestone in special effects; the sequence won Cecil B. But as great as the visual effects are in this scene, it's Rameses' subsequent stunned confession to Princess Nefretiri that he may have been worshipping the wrong God all along that helps sell its emotional punch.

Following a bumpy helicopter ride to Isla Nublar, Doctors Grant, Sattler and Malcom are taken on a Jeep ride through some ancient foliage, stopping at the sight of a CG Veggie-saurus trying to eat some leaves for lunch.

John Williams' music swells, Richard Attenborough welcomes us to Jurassic Park and movie making is forever changed. We had seen dinosaurs on the big screen many times before, but never quite like this. And never with that special Spielberg touch of awe and wonder. Do you love the smell of napalm in the morning? The most epic scene in Apocalypse Now occurs early on as the slightly unhinged Kilgore bombards the enemy in order to see Captain Willard and his men safely up the Nung River.

The entire scene sets the surreal tone for the rest of the film, as death and carnage are interspersed with images of the unflappable Kilgore and the booming sounds of Wagner's "Flight of the Valkyries" echoing from the helicopter loudspeakers. Blade thingees sticking out of the side of hubcaps to knock the other guy out!

We take all of these tried and true chase-scene conventions for granted these days, but it is director William Wyler, star Charlton Heston and their biblical epic Ben-Hur that perfected the form. And don't forget Andrew Marton, the second unit director who reportedly shot the scene. Pre-CGI, of course, the sequence remains one of the most exciting chases in movie history… possibly because of its lack of computer-generated imagery.

Every horse, every spectator, every mangled body… this stuff is all happening in the real world, and you can feel it every gallop and crunch of the way. It is a thing of beauty. That wasn't a problem when the original Star Wars hit theaters in The big battle between the Rebel Alliance and the Empire sees a small band of pilots navigating the deadly Death Star trench in a desperate attempt to blow up the super-weapon before it obliterates their home base.

After tremendous build-up and many heart-stopping aerial battles, Luke Skywalker finally delivers his payload and saves the day. It was the rare audience member who didn't stand up and cheer at this victory. For many, this moment is still the greatest act of heroism in the Star Wars films. This has to be one of the most famous and imitated lines in Hollywood history.

Poor Jack Torrance one of Jack Nicholson's most memorable roles finally snaps in the climax of this horror film, directed by Stanley Kubrick and based on the book by Stephen King.

The pressure of isolation, alcoholism, and a meddling ghost having proven too much. So Jack grabs an ax, chops through the door, of the room where his terrifed wife is hiding, and utters the unforgettable and hammy line by way of introduction. He certainly knew how to make an entrance. Everyone remembers this moment, regardless of whether they know the difference between a Zira or a Zaius. When it comes to iconic movie scenes, the twist ending from the original Planet of the Apes dominates.

And you know what? Despite endless parodies and rip-offs over the years, it still works. When Charlton Heston's Taylor arrives on that beach, finally free of his ape overseers after a whole movie's worth of fighting and running, he thinks he's escaped. He suddenly realizes he never even left home in the first place. In a time-warping, head-tripping moment, all is clear. And that statue's cold, unblinking stare only serves to drive the point home. Can you do anything wrong?

Well, there was Xanadu, but we'd prefer not to think about that. For all his many musical roles, Don Lockwood from Singin' in the Rain will always be Kelly's most beloved. The entire title musical number is a giddy delight, but when he jumps up on that lamppost, refusing to let the stormy weather spoil his sunny mood, you can't help but be caught up in the gesture of defiant joy.

If ever there were a moment that defined the weightless, invincible feeling of new love, this is it. No matter how many times Hollywood remakes King Kong, no effort will outdo the original classic of beauty and the really, really big beast. In the climax of this film, an enraged Kong breaks from his restraints, grabs poor Fay Wray, and climbs to the top of the Empire State Building.

What results is a stop-motion animation by Willis O'Brien aerial battle that may be technologically dated but still thrilling and emotional. Audiences care for the giant ape in his final moments, as he only wanted a little beauty in his life.

This classic musical opens with the unforgettable title number, sung by the one and only Julie Andrews while frolicking on an Austrian mountaintop, complete with a breathtaking overhead shot filmed from a helicopter in which we can see for ourselves that the hills are, in fact, alive with the sound of music.

Try doing that on stage! Is it just us, or do you feel like climbing a mountain, twirling around and belting out a song after watching this? There are many classic lines and memorable moments in Film Noir, but few are as devastatingly powerful as the finale of Roman Polanski's classic.

The line -- "Forget it, Jake. Evelyn had been escaping with her sister — daughter! It's just so damn nasty all around. Bleakness is a staple of Film Noir, but this ending is perhaps the bleakest one of all as the bad guys not only get away with murder but also with rape, incest and a massive land grab. The Exorcist is film speak for "scariest movie ever," a claim rightly deserved when your story centers on a little girl possessed by a pea-soup vomiting demon.

The little girl is Regan, and during the height of her exorcism, Fathers Merrin and Karras witness the devil force the girl's head to around her neck Sure, the effects aren't quite as polished as they might be nowadays, but still What's more memorable than the sight of a cowboy pilot whooping and hollering as he rides an atom bomb all the way to obliteration?

Thanks to director Stanley Kubrick, the answer to that question is "not much. This scene capped off a darkly humorous satire of the Cold War nuclear scare -- and the insanity surroundingi it all. Slim Pickens was perfect in the role of Major T. But don't worry, Major Kong, we'll meet again! Indiana Jones Harrison Ford had done everything right up until he swapped that bag of sand for the golden idol on the tricked-out pedestal.

The image of the intrepid archaeologist outrunning and not particularly gracefully, mind you that big rock was our first real indication that Indiana Jones was an action-adventure screen hero who could escape from certain death at the final moment thanks to his wits and, to no small degree, sheer dumb luck.

He leapt out of that South American cave — and into our hearts. Let's talk about the effect this scene had on the public consciousness: It's become one of, if not the, signature Marilyn Monroe moments, which of course in turn makes it one of the erotic moments in 20th century pop culture. In fact, while most folks could tell you what movie the various scenes on this last came from, when it comes to Marilyn and her windswept dress, you can be sure The Seven Year Itch isn't the answer as often as it is, "That's from a movie?

Making Marilyn and her dress even sweeter for genre fans, recall that her character had just walked out of watching The Creature from the Black Lagoon before the wind catches her. And she felt bad for the creature!

You put Cary Grant in the middle of a field and send an airplane after him, with Alfred Hitchcock behind the camera, and of course you're going to wind up with one of the greatest movie moments ever. It starts with everyman Grant kind of noticing a biplane flying in an irregular manner.

Huh, is it turning? Seems to be flying a bit low, doesn't it? The anonymous pilot of the crop duster is like the unseen truck driver from Spielberg's early film Duel -- he's all the more menacing because we don't know who he is or why he's doing what he's doing. Of course, that truck driver never had to face a sharply dressed Cary Grant, or the explosive effect he can have on a person. The Rocky movies feature some of the best training montages we've ever seen, but this first one deserves the champion's belt.

In one of the most inspirational moments ever put to film, Rocky Balboa jogs through the streets of Philadelphia to the soaring music of Bill Conti. As he runs up the steps of the Philadelphia Art Museum a feat which he tried and failed earlier in the film , it's the perfect metaphor for overcoming obstacles on the path to greatness.

As a historical note, this scene was also the first use of Steadicam in a film, which was developed just for this sequence. Modern audiences take the audio experience for granted when it comes to seeing movies.

The story of Al Jolson was the first "talkie," giving then-movie audiences an experience on par with the first time we saw fully-realized CG dinosaurs in Jurassic Park. Top Sci-Fi Films". Archived from the original on 22 July The 10 Best Science Fiction Movies".

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