Works with their own pages:

* ''Awesome/BackToTheFuturePartII''
* ''Awesome/BackToTheFuturePartIII''


[[folder:Part I]]
* The scene with the Libyans is one of these for Doc. Chances are that Doc was fully aware he was going to die. He probably intended to give his assistant cover to run by letting the Libyans shoot at him. That takes guts.
* George [=McFly=] punching Biff after delivering a perfect [[DateRapeAverted "Get your]] [[PrecisionFStrike damn]] [[DateRapeAverted hands off her!"]]: great. George [=McFly=] pushing off the redhaired kid who tried to cut in, thus saving all three of his future children, followed by Marty [[ThePowerOfRock playing "Johnny B Goode"]], [[ALittleSomethingWeCallRockAndRoll ending in a heavy metal solo]]: [[CrazyAwesome insanity]].
-->"Chuck! Chuck! It's Marvin! Your cousin, Marvin Berry! You know that new sound you were looking for? Well, listen to this!"
** In fact the exact moment when Marty's existence is restored as his father kisses his mother and ensures eveyone's future, thus causing Marty to instantly return to playing the song "Earth Angel" is easily one of the most triumphant moments in cinema, ever.
** And the fact that when Biff threatens George and tells him to close the car door and walk away, George, in spite of being bullied by Biff the whole movie (and no doubt his whole life), stands his ground and says "No, Biff. You leave her alone." That line wasn't fed to him by Marty. That moment was all George.
** Hell, the look on George's face right before he throws the punch...his arm is this close to getting broken, but then Biff shoves Lorraine down, and then George balls up his fist and gives Biff one of the most awesome death glares ever..and WHAM!
* After working so hard to connect the cables on the clock, the bottom cable suddenly pops free -- and there's only a minute to go. Doc despairs for a moment, then gets a determined look. He reconnects the bits he has, then LOOPS THEM AROUND THE HANDS OF THE CLOCK AND SLIDES DOWN, retrieving the other end and connecting it JUST AS THE LIGHTNING BOLT HITS. Awesome.
** Let's face it, there's a reason this scene is in all three films.
* How can we forget "Roads? Where we're going, we don't need... roads." The line is awesome enough, but when you consider that the Doc has turned a Time Machine that he invented into a flying car AS WELL?
** In fact, this line was so cool that Reagan incorporated it into his State of the Union address that year. He was a fan of the movies; when Doc disbelieves that an actor could be President, Reagan had the White House projectionist rewind and play the line again.
* "The way I see it, if you're gonna build a time machine into a car, why not do it with some style?"
* "IfMyCalculationsAreCorrect, when this baby hits eighty-eight miles per hour... you're gonna see some serious [[PrecisionFStrike shit]]."
* Marty's fight with Biff, and the chase scene afterwards. It ends with Marty avoiding getting crushed between a truck and Biff's '46 Ford by running up the hood, through the car seats, and off the trunk, with Biff and his gang getting buried in manure.
** And to cap it off, he gets back on his makeshift skateboard ''just'' as it comes back out from under the car. AWESOME.
** Not to mention that Marty was able to knock down Biff, who is [[PintSizedPowerhouse twice his size]], with one punch.
* Real-Life Example: One of the execs wanted to change the name to "Spaceman from Pluto" due to the comic book that the kids on the farm are reading when Marty first makes it to 1955, thinking that no one would get the title ''Back to the Future'' (it doesn't take a genius to figure out the FridgeLogic there). The writers were stuck and really couldn't say anything, but Creator/StevenSpielberg on the other hand said this at a meeting: "We got the joke you sent us, it was hilarious." The uproarious laughter pretty much squashed the idea.
* Real-Life Example: From a storytelling standpoint, the massive amount of {{Foreshadowing}} the writers managed to pack into the opening story -- without disrupting the flow -- is impressive. Lorraine's storytelling, Doc's rambling, the words of the lady from the Hill Valley Preservation Society... all come into play later in the film.
* A small moment, but [[OhCrap "Who're you calling spook?"]] is pretty awesome.
* "Let's see if you bastards can do 90!"
* Back in 1955, the colored janitor tries to encourage George [=McFly=] to stand up for himself, using himself as an example. He may be a colored busboy, but that's not all he'll be. Marty looks at him, and after a moment of being stunned (again) exclaims, "That's right, he's gonna be mayor!" Hilarious and awesome because the busy really is going to become mayor in 30 years time. And the best part, the movie implies a stable time loop, it was Marty's witnessing this exchange that prompts him to go into politics.
** He was well on his way to doing SOMETHING other than working in the cafe. He told George that he was "going to nightschool" and one day he'll "be somebody". Marty simply sped up the process.
* The moment when it sinks in for Marty. He's gotten back to town, everything looks different. Then he hears something for the first time in his life, the clocktower ringing (which also perfectly punctuates the music).

[[folder:Telltale Games]]
* In Episode 3, the moment Citizen Brown [[spoiler: realizes that the logo for the "new" Hill Valley is modeled after ''the flux capacitor''.]]
* In Episode 4, Marty is inspired to try and unbrainwash Jennifer by playing his guitar over the squawkbox, when a guard comes to escort her out and notices the music. When the guard inspects the camera, Jennifer beans him with her box of spray paints.
-->'''Jennifer:''' Nobody scrambles my brains, ya hear me?! No one! I'm Jennifer Parker - rock 'n roller!
* Marty rescuing Doc in Episode 4 also qualifies.
* Telltale got Michael J. Fox to voice a character for the finale. YES!
** Correction, [[spoiler: Fox did FOUR characters: Old Willie McFly, Artie's dad, and three older Alt!Martys!]]
*** *faints*
* A slightly fridgey one in Episode 5. [[spoiler:Citizen Brown is disguised as the runner of the Enlightenment Under The Sea attraction, and has his younger self kidnapped and hidden in the bathysphere. Marty knows this, and is trying to thwart him. He tries to get onto the ride with a ticket, then invokes the authorities when Brown rejects it. After all that, Brown pretends the gears are jammed so he can't raise the bathysphere. So what does Marty do? He ''deliberately crimps the bathysphere's air hose'', cutting off young Emmett's air supply and putting his life-- and by extension his older self's life-- in jeopardy. He does this knowing full well that if Emmett dies, not only will he lose a lifelong friend, but he'll prevent the invention of the time machine in the first place (because its inventor won't be alive to invent it) and be forever stranded 55 years in the past. He's taking a '''MASSIVE''' chance, and he takes it without hesitation. Badass to say the very least.]]
** [[spoiler:He probably realized that the only one who cares about Emmett more than he does is Emmett himself. A difficult, but logically sound, decision.]]
* When Young Emmett is showcasing his Electrokinetic Levitator at the expo, he rolls off the ramp, supposedly falling to the "spectacular failure" he mentioned in Episode 1... [[spoiler:until he flies back into the shot, soaring majestically around the room.]] Made even more awesome by the accompanying [[CrowningMusicofAwesome triumphant version of the Back To The Future theme ]]
* Episode 5: William [=McFly=] saving Marty and Doc from a trigger-happy Edna.

* In a real-life example, the story of [[ the restoration]] of a genuine, screen-used [=DeLorean=] to its former glory after years of neglect.
* Think it's HarsherInHindsight that Michael J. Fox can no longer play guitar like he did in Back To The Future? '''[[ THINK AGAIN!]]'''
** Even better, he'd actually learned to play this for real after miming it in the movie.
* Steven Spielberg initially had reservations about using Alan Silvestri to write the film's score, having only been familiar with Silvestri from his work on ''RomancingTheStone''. Zemeckis advised Silvestri to make his compositions grand and epic, despite the film's small scale, to impress Spielberg. It worked.