All people are different, and each person has their own idea of what is scary and what is not. For some, the sight of a zombie or a monster from outer space can cause genuine horror, and for others, only laughter. To determine how scary a movie is, you need to consider different aspects.
Instructions
Step 1
During childhood and up to adolescence, a person, as a rule, has a fear of fictional creatures - vampires, werewolves, zombies, and so on. Surely the film in which the main character fights against evil spirits will seem scary to those who have not yet said goodbye to the belief that all these creatures actually exist.
Step 2
With age, the way of assessing events changes, a person already quite clearly separates reality from fiction. The inexplicable things still frighten him, but not to the same extent as before. The creatures from childhood are being replaced by mutants, representatives of the afterlife and extraterrestrial civilizations. That is, those objects and events that could be present in real life, and about which from time to time there are notes in the press.
Step 3
But it's not just the characters that determine how scary a movie can be. Naturally, the story chain is dominant. And here the directors turn directly to the human psyche. They have favorite tricks. These include sudden "attacks of evil" at a time when the viewer does not expect (loud screams jumping out from around the corner of the creatures or people).
Step 4
While the suddenness can be frightening, the most fearful events are those that might actually happen. Therefore, films about maniacs, fanatics, sadists and other perverts cause the greatest fear in the adult viewer. After all, he understands that no one is immune from the situations described in the film. And the negative characters are not so much invented by screenwriters and writers as copied from living people.
Step 5
If we carry out a comprehensive assessment of the film, then different factors will matter: did the director manage to create the effect of the viewer's involvement in the events of the film, how well the sound background was chosen. Is the dynamics of the plot verified correctly: how often (appropriate) scenes of active actions and lulls replace each other, are the scenery skillfully used, and much more.
