Awesome / Back to the Future

Works with their own pages:

    open/close all folders 

    Part I 
  • "The way I see it, if you're gonna build a time machine into a car, why not do it with some style?"
  • "If My Calculations Are Correct, when this baby hits eighty-eight miles per hour... you're gonna see some serious shit."
  • The scene with the Libyans is one of these for Doc. When he realizes that they're coming, his freaked-out reaction perfectly sells how aware he is that these guys are prepared to murder someone. But his response, rather than running away, is to draw their attention, letting them kill him so that his assistant/best friend will have a chance to escape. In one intense scene, it shows the viewers how courageous Doc is.
  • Marty tries to outrun the Libyans in the DeLorean (unaware that he has accidentally activated the time circuits), and, in a burst of confidence, declares, "Let's see if you bastards can do 90!"
  • 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).
  • 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 busboy 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 already on his way to doing something other than working in a cafe; as he tells George, he's "going to nightschool" and one day he'll "be somebody". Marty simply speeds up the process.
  • 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 twice his size, with one punch.
    • When all is said and done, Marty keeps his promise of returning the "skateboard" to the kid he borrowed it from. The child in turn is awed by his skills.
  • A small moment, but Marvin and the Starlighters sending Biff's gang running is pretty awesome. Match, Skinhead, and 3-D throw Marty in the trunk of Lorenzo's car, and when Lorenzo objects, they dismiss him as a "spook"... which causes all five Starlighers to exit the car, danger in Marvin's voice as he asks, "Who are you calling 'spook', peckerwood?" The bullies panic and flee as Lorenzo snarls, "Go home to your mama, boy!" while taking a swipe at them as three Starlighters run after them.
  • George McFly punching Biff after delivering a perfect "Get your damn 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 playing "Johnny B Goode", ending in a heavy metal solo: insanity.
    "Chuck! Chuck! It's Marvin! Your cousin, Marvin Berry! You know that new sound you were looking for? Well, listen to this!"
    • 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!
      (George runs into the school car park and sees what he thinks is Marty taking sexual advantage of Lorraine in Doc's car; he steels himself and walks over to the car, pulling open the driver's side door)
      George: (sounding slightly overrehearsed) Hey you... get your damn hands off... (realises it's Biff in the car with Lorraine; his face falls) hohh...
      Biff: I think you got the wrong car, McFly.
      Lorraine: (gasping, near tears) George - help me! Please!-
      Biff: (shoves Lorraine back) Just turn around, McFly, and walk away. (George hesitates, not sure what to do) Are you deaf, McFly, close the door and beat it.
      George: (pauses, then reaches a decision) No, Biff. You leave her alone.
      Biff: All right, McFly. (shoves Lorraine's legs aside) You're asking for it, and now you're gonna get it.
      (George tries to aim his rehearsed punch at Biff's stomach, but Biff grabs his arm and twists it behind his back as George yelps in pain)
      Lorraine: Stop it! Biff, you'll break his arm! [...] You're gonna break his arm! (Biff continues to twist George's arm) Biff! Biff, leave him alone! (jumps on Biff and tries to pull him off George) Let him go! Let him-
      (Biff shoves his free hand into Lorraine's face and pushes her to the ground. George looks at her in horror, and something fundamental changes in him at that moment; Biff is too busy laughing mockingly to notice George's expression change to white-hot anger and his left hand ball into a fist, only turning back seconds before George punches him in the jaw so hard he spins round, hits the car, and slumps to the ground unconscious)
      George: (spends a few moments gasping in disbelief that he finally stood up to Biff, then turns to Lorraine) Are you okay?...
      • Not only did nerdy, 98-pound weakling George knock Biff (who's freaking huge) out with one punch, he did left-handed. While his right was in a very painful arm-lock. Then bonus points (and adding some Heartwarming), after he stares, awestruck, at his left hand, he offers his right hand to Lorraine as he asks if she's okay.
    • The exact moment when Marty's existence is restored as his father kisses his mother and ensures everyone'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.
      (Marty is on stage with the Starlighters, playing the riff for their cover of the Penguins' "Earth Angel"; Marvin listens to him for a moment, then makes a "Hm, not bad" face before going to the microphone)
      Marvin: This is for all you lovers out there. (begins singing)
      Earth angel, earth angel, will you be mine
      My darling dear, love you all the time...
      (Marty checks the photo; Dave and Linda are still gone. He looks at Lorraine and George on the dance floor)
      Lorraine: George, aren't you going to kiss me?
      George: I, I don't know...
      Mark Dixon: (walks over and pushes George aside) Scram, McFly. I'm cuttin' in. (he dances off with Lorraine, who looks to George to intervene, but George hesitates; meanwhile, Marty begins clumsily hitting wrong notes and losing the beat with the rest of the band)
      Marvin: (still singing, but looking unsettled by the sudden decline in Marty's performance) Earth angel, earth angel, the one I adore...
      Starlighters pianist: (as Marty collapses) Hey, boy. You all right?
      Marty: (dazed, out of breath) I can't play...
      Lorraine: (as Dixon drags her along the dance floor, laughing mockingly) GEORGE!...
      (George glances at them, but walks away; as the film's soundtrack drowns out Marvin's singing, Marty looks at the photo and sees himself starting to fade out of it, then notices his own hand is becoming semi-transparent)
      Lorraine: George!...
      Marty: (weakly) George... (starts to lose consciousness)
      George: (suddenly appears next to Dixon and Lorraine) Excuse me! (shoves Dixon in the chest so hard he falls to the floor, then, the film's main theme swelling on the soundtrack, he takes Lorraine's face in his hands and looks into her eyes; Marvin's singing fades back in as George kisses Lorraine deeply)
      Marvin: (singing) The vision of your happiness, woah-oah
      Earth angel, earth angel, please be mine...
      (Marty springs to his feet as though electrocuted and begins strumming the guitar again; he looks at the photo and sees himself, Linda, and Dave re-appear in quick succession. George waves to him in gratitude from the dance floor; Marty returns the gesture, flexing his fingers in relief that his existence has been guaranteed)
      Marvin: My darling dear, love you for all time
      I'm just a fool, a fool in love... with you.
  • After Doc works 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. And the clock tower doesn't just get "hit" by lightning. It practically gets NUKED.
  • "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.
  • 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 Fridge Logic there). The writers were stuck and really couldn't say anything, but Steven Spielberg 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.

    Telltale Games 
  • Marty defeating Kid Tannen, a MOBSTER, in the past. Not only with getting him on Tax evasion via Trixie (Kid Tannen's girlfriend and his grandma, Sylvia) and Officer Parker (in reality, Jennifer's grandpa), but was also able to save Edna from him and used the gun-lighter he stole from Alternate!Biff, resulting in the loss of the alcohol in Kid's organization and likely his entire enterprise. Lets remember that this is a teenager who did all this.
    • Emmet helps out too, as it was his rocket car that was able to keep him from geting away thanks to the fact that it was kinda busted.
  • In Episode 3, the moment Citizen Brown 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. In fact, he voices FOUR characters: Old Willie Mc Fly, Artie's dad, and three older Alt!Martys!
  • A slightly fridgey one in Episode 5. 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. 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... until he flies back into the shot, soaring majestically around the room. Made even more awesome by the accompanying triumphant version of the Back To The Future theme.
  • Episode 5: William McFly saving Marty and Doc from a trigger-happy Edna.
    • There is also the scene where Marty makes a trap to knock out the Western Tannen and a time-traveling Edna so that they can save Hill Valley from a future where it got burned to the ground.

  • 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 Harsher in Hindsight 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 Romancing the Stone. Zemeckis advised Silvestri to make his compositions grand and epic, despite the film's small scale, to impress Spielberg. It worked.

Alternative Title(s): Back To The Future The Game