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2012’s Great Movie Moments: April

2012’s Great Movie Moments: April

At the end of each month, the Sound On Sight staff will band together to write an article about their favourite scenes in films released. Here are our favourite scenes from the month of April.

Warning: Of course, spoilers are in full effect here!

Rebelle – Friendly ghost warning

There are a host of wonderful moments in this picture, but it is those which spoke to the film’s pseudo-supernatural nature that I remember most fondly. The protagonist’s connection to the spirit world has see see the ghosts of the dead at various moments. The nondescript actors portraying the spectres are painted in white from head to toe and their eyes are equipped with some strange contact lenses, thus perfectly whitening them as well. The ghosts are not scary per say, but definitely a creepy, odd addition to the picture, with their first ever appearance being the most effect, as they warn Komona (Rachel Mwanza) of an oncoming surprise attack deep in the jungle, thus saving her life.

Edgar Chaput

Dérapages – Jacques Villeneuve dares not do what stupid teens do

Paul Arcand’s pertinent documentary about the dangerous habits exercised by teens and young adults behind the wheel (driving too fast, driving in inebriated state) is ripe with shocking stories and powerful and sad testimonials. Arguably the most effective section is the one some may seem as the most gimmicky. The director invites former Formula 1 champion Jacques Villeneuve to take a few runs with a modified vehicle along a regular country road on a beautiful sunny day. The first couple runs go smoothly of course, but as Villeneuve increases his speed, he begins to admit that, even despite knowing where the stop sign is, it does become increasingly difficult to fully control the car since more concentration is required of him. When he stops to ponder about the kids who drive drunk at high speed at night, he can only shake his head.

Edgar Chaput

Cabin in the Woods – discovering the collection of monsters

Drew Goddard’s recent horror movie was a genre film fan’s wet dream. A solid cast, plenty of funny moments and an overall very, very different kind of story to tell, one that both serves as a singular horror tale and a love letter to many of its predecessors. Just before the final act kicks into high gear, the two remaining survivors of the zombie attack discover a strange underground elevator of sorts. They operate it as best they can. The glass walls on opposite sides reveal nothing except blackness… until the elevator stops. Suddenly a real, live werewolf is on the other side of the glass wall. The elevator moves along a little further, stops again to reveal another hideous creature lurking in the shadows. Is this some kind of tour of an underground monster house? No, not really. What the two protagonists and the audience believed to be an elevator is in fact a storage compartment! The camera zooms outwards to reveal hundreds upon hundreds of such glass compartments, each containing a nightmarish monster. They are in a monster warehouse!

Edgar Chaput

 Kid With A Bike – Into the woods

The Dardenne brothers don’t always make films filled with immediate shock value or slick set pieces, still, in each of their works there’s usually at least one moment memorable for how it deviates from expectations. That moment comes towards the end of The Kid With a Bike where young Cyril (Thomas Doret) has run into the woods and scaled a tree to hide from his revenge-seeking pursuer. Cyril is hit by a rock and falls. The second that he plunges – a quick glimpse in an unassuming wide-shot – is heart-stopping.

Neal Dhand

The Playroom – Maggie Catches Her Mom Cheating

Caught during the Tribeca Film Festival, The Playroom tells the story of Maggie and her siblings as they spend a night in the attic as their parents party downstairs. Nostalgia plays a huge element in this 1970s wholesome melodrama, yet nothing is more poignant that the film’s message of the inevitable moment when a child captures their parent’s individual flaws for the first time. A defining moment to the film, Maggie (Olivia Harris), after arguing with her mother and escaping to the pool with a robbed cigarette, catches her stealing a kiss from the neighbor next door. Tension grabbing yet unspoken, if there was ever a time that a teenage deserved to smoke, it’s during this scene. All of Maggie’s emotions and realizations are exhaled by a single breath. Bravo, Olivia, bravo.

Chris Clemente

Monsieur Lazhar – The dance sequence

While the majority of Philippe Falardeau’s Monsieur Lazhar focusses on the growing relationship between a teacher and two of his students, there is also a subplot following one of his colleagues who takes a romantic interest in our titular character. During a romantic dinner with colleague Claire (played Brigitte Poupart), the dialogue gets as awkward as does the situation, and it quickly becomes obvious that Monsieur Lazhar is coping with immeasurable loss in his own life. His story unfolds quietly in parallel to his experiences with the children and the director offers us little details and visual touches to enhance tidbits of backstory. The best example of this comes when during a school dance, Lazhar hides out in his classroom, closes his eyes and begins to dance to the imaginary music of his home country floating in this thoughts. It is a potent moment and without a doubt the best scene in the film.

Ricky D

Cabin In The Woods – The Merman

The Cabin in the Woods is a film that works best if left unspoiled simply because it is crammed with small unanticipated and unexpected incidents along with a number of surprising comical twists. Apart from the elevator sequence mentioned above, there is also the phone call in which the “voice of doom” is put on speaker – the motorbike daredevil jump – the chaos the ensues in the bureau while placing bets on who will live or die – and the final 20 minutes when all Hell breaks loose. The brilliant orgy of gruesome gore might not be as grotesque as the ending on Brian Yuzna’s Society but it can still match it in terms of awesomeness. It is bloody and fearsome and gives the audience what they’ve all been waiting for – a fucken psychotic Merman.

Ricky D

Click here to see January’s releases

Click here to see February’s releases

Click here to see releases from March