- The way Angel is kidnapped, Mok has Toad press a button which causes the flower she is holding to sprout these flailing, grotesque, fleshy tentacle things that bare resemblance to a certain Male body-part, which quickly rush towards her as the screen fades to black, it then shows Angel unconscious with Mok coldly looming over her. Not to forgot that scream Angel makes.Mok: You will bring me my demon, wherever you like it, or not.
- The close-up of the dead mutant melting near the end of the mutant scene. Its head gives way and dissolves into an unrecognizable mess, two of its feet melt into triangular blobs, the torso's right side collapses and causes the head's remains to pour, all while blood oozes out of the torso. Angel seems appropriately horified and/or disgusted. Worth pointing out that one of its arms twists and curls into a tentacle for no explained reason.
- The scene where Mok tricks Omar into thinking that Angel fell for him is something out of a horror movie. Though, this movie debatably is one.
- The Jump Scare when Mok reveals himself, made worse by the build-up to it.
- The close-up of What's-Her-Face's mask.
- The scene where Mok tortures Omar, Dizzy, and Stretch with lasers, with the screams of those as mentioned earlier three and Angel's horrifying scream, Mok's sadism, and the fact that the torture temporarily turns Omar, Dizzy and Stretch basically braindead. Though their behavior when braindead might be Crossing the Line Twice, the scene is still disturbing.
- Those monstrous fetus demon things which get spat out by the demon during "Pain and Suffering". Unlike the rest of the film, they're explicitly humanlike.
- The demon itself is a giant constantly shifting meaty-looking abomination, most evident when it gradually enters through the gateway, trying to gain a stable form while going through increasingly demonic forms including a blue-skinned humanoid form that vomits out the aforementioned human-like demonic babies.
- Mok's face, especially the animation. His mouth movements especially have no connection to the rest of his face, or his words most of the time. Despite, or perhaps because of this, the complexity of his face is also admired.
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