The author discusses the significance of a movie's opening scene and shares ten instances where they knew a film was a masterpiece based on the first few minutes.
First impressions always matter, and movies are no exception. An opening scene doesn't necessarily make or break a film, but a great opening certainly helps audiences go into the rest of the movie with an already-formed positive impression of the movie they're watching.
Sometimes, you can tell from the very first few minutes of a film that what you're about to experience is a cinematic masterpiece. From perfect comedies like Hundreds of Beavers to perfect blockbusters like The Lord of the Rings: The Fellowship of the Ring, there have been ten particularly noteworthy instances in which I myself have known that a movie I'm about to watch is a masterpiece only by watching its opening scene.
Whether it's because of the quality of the world-building, the way they introduce a character, or the way they lay the groundwork for the plot without unnecessary exposition, these opening scenes are among my favorites. 10 'Hundreds of Beavers' The semi-silent indie slapstick film Hundreds of Beavers is like Bugs Bunny, Charlie Chaplin, and Buster Keaton became a throuple and had a baby together. Goofy, absurdist, delectably over-the-top, and absolutely genius in how it uses its incredibly low budget, it's a parody of the survival film genre that feels like it was engineered in a lab to become a future cult classic.
You can tell from the very first few minutes of Hundreds of Beavers that you're watching one of the most chaotic action movies of all time. We open with a musical number that has no business being as catchy as it is, being introduced to our hero: Jean Kayak, whose house and applejack kegs are destroyed by a group of beavers.
Funny, visually delightful, and full of the same kind of Looney Tunes-y humor that will characterize the rest of the film, it's the sort of musical opening that sets the scene for what follows flawlessly. 9 'Raging Bull' Who, if not a master of the Seventh Art of Martin Scorsese's stature, could transform a simple opening credits sequence into one of the greatest opening scenes in movie history? Raging Bull as a whole is regarded by many cinephiles as Scorsese's greatest masterpiece.
It is, at the very least, the best sports movie of the 20th century. This biopic centered on world middleweight champion Jake LaMotta, played by Robert De Niro at his Oscar-worthy best, opens with its credits playing over a static shot of Jake. He's in the ring, alone, throwing punches at the air.
The message is clear: It does't matter who gets in the ring with our protagonist, because his true battle will always be against himself. 8 'Citizen Kane' Orson Welles is one of those movie directors who have an obvious magnum opus. It's a testament to Welles' unparalleled talent that his magnum opus was his debut, and it's even more impressive that many still refer to that debut as the greatest American masterpiece in cinema history: Citizen Kane, a film from Hollywood's Golden Age that completely revolutionized the craft of filmmaking.
Even without the benefit of hindsight, anyone with functioning eyes and ears who didn't know anything about Citizen Kane would nonetheless be able to tell they were watching a masterpiece from the first couple of minutes. With some groundbreaking editing and camerawork and sound design that almost seems avant-garde and brilliantly experimental, Welles introduces us to our main character in an entirely unconventional way: By watching him mouth his last words before dying. 7 'Mad Max: Fury Road' George Miller's return to Max Rockatansky's wasteland after three decades away from the franchise, Mad Max: Fury Road is far and away one of the most perfectly-made action movies of all time.
It's an injection of pure adrenaline right to the jugular, a high-octane two-hour chase sequence through the desert that never lets up in either its pacing nor its over-the-top thrills. The reason why Fury Road is the best installment in the series is because it has the best visuals, pacing, character work, and world-building of the franchise, and you can tell all of those things from the opening minutes.
In just about a minute, Miller gets us to understand that Max is haunted by the voices of his past, followed by a nail-biting chase sequence that serves as the inciting incident of the film's whole plot. It's a masterclass in airtight filmmaking through and through. 6 'Monty Python and the Holy Grail' The British comedy troupe Monty Python were best-known for their work on television, but they made their first incursion onto the big screen in 1975 with Monty Python and the Holy Grail.
Despite its absurdly low budget, this cult classic is one of the most perfect fantasy movies of the 20th century, a comedic masterpiece which proves that laughter and movie magic don't require millions upon millions of dollars to work. The movie's opening scene is a hysterical encapsulation of precisely the kind of absurdist, satirical humor that has allowed Monty Python and the Holy Grail to remain timeless for so long.
King Arthur and his squire"ride" to a town's border walls by banging two coconuts together to imitate the sound of a horse, and then engage in a discussion with the town's guard on whether a swallow would be able to carry a coconut. It's the sort of"you have to see it to get it" opening scene that makes it clear right from the get-go that comedy films don't get much more masterful than this. 5 'Eraserhead' David Lynch was the modern master of cinematic surrealism, an auteur that contributed so much to arthouse cinema that it's difficult to put the greatness of his legacy into words.
Like most of cinema's greats, he kicked things off with a debut that's among the greatest movies of its time: Eraserhead, which might actually be Lynch's most perplexingly odd and hauntingly surreal masterpiece. It's not a straightforward opening sequence in any possible sense of the word, but that's precisely the source of its genius. This, too, is one of the greatest low-budget movie masterpieces ever made.
It all starts with its opening sequence: Henry Spencer’s expressionless face floating in a dark void, a strange man pulling levers in a tiny room, worm-like creatures drifting through space. It's not a straightforward opening sequence in any possible sense of the word, but that's precisely the source of its genius.
Its dark tone and cryptic, symbolic nature set the scene for the rest of Eraserhead flawlessly, making it clear right off the bat that you're watching a true surrealist gem. 4 'Double Indemnity' Though the United States wasn't the only country that made the sorts of films that would later be referred to as noirs, this genre was a distinctly American phenomenon nonetheless. And as far as the most important noir movies of all time go, it doesn't really get much more important than what many regard as the greatest noir masterpiece of all, Billy Wilder's Double Indemnity.
Wilder was an absolute master at making unforgettable opening scenes, but none stronger than that of Double Indemnity. We see insurance salesman Walter Neff stumble late at night into his empty office, not before the elevator operator cleverly gives us some key bits of exposition about our protagonist.
Then, Neff records a confession that he killed someone named Dietrichson. It's far and away one of the greatest flashforward openings in movie history; a masterclass in exposition, character-building, and setting the tone of a movie right from its opening minutes. 3 'Pulp Fiction' There's a reason why Pulp Fiction is one of the most universally loved '90s cult classics.
There's a reason why Quentin Tarantino's sophomore directing effort made it all the way to an impressive Palme d'Or victory at the 1994 Cannes Film Festival. In fact, there are many reasons. This is, after all, one of the greatest movies of all time, and I could tell that was the case from the moment the movie introduced me to diner thieves Pumpkin and Honey Bunny. Subscribe to the newsletter for sharp film-opening insights Hungry for more cinematic openings?
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The dialogue is delightfully flawless, Tarantino's choices with the camera are constantly intriguing, and the characters of Pumpkin and Honey Bunny are as interesting as Tim Roth and Amanda Plummer's performances are fantastic. Even before knowing that what you're watching is the greatest multi-story film ever made, you're hooked by a seemingly simple yet perfectly-executed heist scene in a diner of all places. 2 'The Lord of the Rings: The Fellowship of the Ring' I can't quite remember whether I read J. R. R. Tolkien's Lord of the Rings trilogy before I watched Peter Jackson's legendary adaptations or watched the movies first.
If anything, that only speaks to the brilliance of Jackson and his creative team, who were able to take the most important piece of fantasy literature of the entire 20th century and turn it into a trio of films so exceptional that they almost blend the line between themselves and their source material. And if ever there was a perfect start to a trilogy, it has to be The Lord of the Rings: The Fellowship of the Ring.
If this was able to become the best blockbuster trilogy in movie history, it's in no small measure because it kicks things off on the right foot right off the bat. The epic prologue of Fellowship of the Ring, narrated by Cate Blanchett's hypnotic voice as Galadriel, is a flawless way of introducing audiences to this classic story of good versus evil.
Visually impressive, dark-toned, and irresistibly exciting, it's probably the best opening sequence of any cinematic epic. 1 'Raiders of the Lost Ark' Not all Indiana Jones films are perfect, but if there's one element that's beyond any kind of reproach in each of the franchise's five installments, it's the opening scenes. But no matter what the best chapter in the story of this adventuring archaeologist is, there's one thing that's typically universally agreed upon: That the opening scene of Raiders of the Lost Ark is not only the best of the series, but one of the best in the history of cinema.
It's not just that Raiders' opening is iconic: It's that it's an absolutely perfect masterclass in how to introduce a larger-than-life character of Jones' stature. Steven Spielberg gives us a perfect understanding of what kind of action hero Indy is well before we even get to see his face—and once we do, it's a moment as epic as anything else that will come later in the film.
This is one of the most exciting movie masterpieces ever made, and anyone could tell that that's the sort of movie they're watching as soon as they witnessed the opening few minutes. COLLIDER. Collider · Quiz Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country Five Oscar Best Picture winners.
Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one. 🪜Parasite 🌀Everything Everywhere ☢️Oppenheimer 🐦Birdman 🪙No Country for Old Men FIND YOUR FILM → QUESTION 1 / 10TONE 01 What kind of film experience do you actually want?
The best movies don't just entertain — they leave something behind. ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching.
DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame.
NEXT QUESTION → QUESTION 2 / 10THEME 02 Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours? AClass, inequality, and what people are willing to do when desperation meets opportunity.
BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.
NEXT QUESTION → QUESTION 3 / 10STRUCTURE 03 How do you like your story told? Form is content. The way a story is shaped changes what it means. AGenre-twisting — I want it to start in one lane and migrate into something completely different.
BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more.
NEXT QUESTION → QUESTION 4 / 10VILLAIN 04 What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you? AA system — invisible, structural, and almost impossible to fight because it has no single face.
BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical.
NEXT QUESTION → QUESTION 5 / 10ENDING 05 What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like? AShock and inevitability — a conclusion that recontextualises everything that came before it.
BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is.
NEXT QUESTION → QUESTION 6 / 10WORLD 06 Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible. AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person.
CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason.
NEXT QUESTION → QUESTION 7 / 10CRAFT 07 What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable. AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience.
CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could.
NEXT QUESTION → QUESTION 8 / 10PROTAGONIST 08 What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you. ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure.
BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense.
NEXT QUESTION → QUESTION 9 / 10PACE 09 How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately. AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal.
BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action.
NEXT QUESTION → QUESTION 10 / 10AFTERMATH 10 What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want? AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about.
BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days.
REVEAL MY FILM → The Academy Has Decided Your Perfect Film Is… Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works. BEST PICTURE 2020 Parasite You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another.
Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
BEST PICTURE 2023 Everything Everywhere All at Once You want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful.
This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about. BEST PICTURE 2024 Oppenheimer You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens.
Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
BEST PICTURE 2015 Birdman You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible.
Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all. BEST PICTURE 2008 No Country for Old Men You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning.
The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest.
No Country for Old Men is honest in a way that most cinema never dares to be. ↻ RETAKE THE QUIZ Like Follow Followed Raiders of the Lost Ark PG Adventure Action Release Date June 12, 1981 Runtime 115 minutes Director Steven Spielberg Writers Lawrence Kasdan, George Lucas, Philip Kaufman Cast See All Powered by Expand Collapse
Movies Opening Scene Cinematic Masterpiece World-Building Character Introduction Plot Grounding Exposition Minimization Quality Hundreds Of Beavers Raging Bull Citizen Kane Mad Max Fury Road Monty Python Holy Grail Comedic Masterpiece Low Budget Movie Magic
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