For the James Bond Nightmare Fuel index, see here.
- There's some Paranoia Fuel with seemingly everyone in the district of Kananga's gang's Fillet of Soul restaurants in Harlem and New Orleans being in league with said gang. Of particular note, the fact that no one bats an eye when someone gets killed during the jazz funeral procession and carried away in the coffin.
- The film has possibly the scariest ending to a James Bond film to date. Baron Samedi, a man we previously thought was dead, sits on the front of Bond's train laughing demonically as the camera zooms in on him. The image soon jumps to a flaming skull while the credits roll. Pretty unsettling.
- The opening title sequence has its moments, particularly the shot of a nude woman with her eyes fully wide open as her head is on fire cut back-and-forth to a flaming human skull to the beat of the theme song. There's also another shot of a woman given eerie uplighting looking straight at you with a completely dead stare.
- Baron Samedi himself. We know nothing about him, he gets only a few lines that aren't demonic laughter, and doesn't appear to be really connected with Kananga's operation. We also never find out if he's just a man, the Voodoo Loa himself or something even worse...
- On the subject of Baron Samedi, there's the part where he rises out of a grave to observe the Human Sacrifice. Bond shoots off the top of his head, revealing him to be a clay figure...except that we briefly see his eyes glancing up at his blown off cranium.
- Intruders who dare walking on the isle of San Monique are killed through Human Sacrifices, bitten by a venomous snake with a chanting crowd. It's the fate of Baines in the pre-titles sequence, and nearly the fate of Solitaire.
- Rosie Carver's death. Her terror at being offed by Kananga when Bond smokes her out is quite unsettling, as are the scarecrows watching their every move and the fact that Bond himself is holding her at gunpoint. The moment where she panics and flees before she's shot to death is not helped by the music slowly intensifying up to Bond's discovery of her body.
- When James Bond arrives in New York, Kanaga's henchman drives up alongside Bond's car and takes out the driver of the car, while the vehicle is still in motion, with the intention of causing Bond to be killed in the car crash. There is a brief, but disturbing shot of the dead driver with bullet hole in his head. It takes 007 a minute to realise what has happened as the car is speeding up and in danger of crashing into traffic. Luckily, Bond manages to take control of the car from the back seat.
- Dr. Kananga himself is no lightweight, and his abuse of Solitaire when she defies him is truly scary.
When the time was right I myself would have given you love. You knew that. YOU KNEW THAT!!!
- As cheerful and Affably Evil as he is, Tee-Hee is darn freaky when he and Mr. Big interrogate Bond by threatening to clip his fingers off, while sporting his trademark smile.
- Bonus points for his return in the last few minutes of the movie. Bond and Solitaire are on a train, Bond in the bathroom cleaning himself up and Solitaire lying in their bunk, blissfully talking about how wonderful things are... and then we see a silvery claw snaking its way through the darkness, towards Solitaire, close enough to cut her but she doesn't even know it's there. Bond steps out the bathroom just in time to see Tee-Hee, at which point the he slams the bunk closed with his claw to trap Solitaire, resulting in a fight. It's a fun scene but it's frightening to think how easy it was for a huge, crippled man like Tee-Hee to get into their carriage, and how close he came to hurting Solitaire with his claw-hand.
- Imagine Bond's situation when he is left by Tee Hee in the middle of the water surrounded by man-eating crocodiles and alligators. Yes, Bond manages to escape by running over them, but even still.
- Kananga's death scene. Ignoring what a poorly-executed and absurd effect it was, the idea of a man being inflated to the point of exploding is still a disturbing prospect to dwell on. It may be heavily mitigated by the distinct lack of blood and guts present, but imagine if they had been present. Sweet dreams, everyone. So much for having an inflated opinion of oneself.