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Getting decapitated in a movie is typically the end of the story for the unfortunate character that lost their head. Even notoriously hard-to-kill supernatural creatures of the night like vampires and werewolves can typically be stripped of their immortality by separating their heads from their bodies. But there are some characters who simply refuse to die - or "cease animating," in the case of artificial beings that may or may not be self-aware - after being beheaded and a rare few who actually prefer being disembodied heads. These bizarre characters flaunt the laws of science and nature by continuing to continue on: they lament their fate, provide information, plot their revenge, and some even manage to attack using only their teeth or bizarre telepathic abilities. As unnerving as it may be to think of severed heads as anything but dead, expired, or terminated, here is a whole slew of movie characters who simply won't take decapitation for an answer. Click HERE to VOTE UP the heads

One thing that many artists, photographers, and filmmakers rely upon to strengthen their paintings, photos, and films is “dynamic tension,” the use of contrasting energies and movements to draw the viewer's eye, capture their attention, and create friction or a sense of struggle between objects or characters. In film, dynamic tension is the main ingredient of every “buddy cop” movie, created by pairing up two disparate people who might have the same goals, but very different styles, personalities, backgrounds, or approaches to overcoming the obstacles that drive the plot of the story towards the conclusion. The push-and-pull between buddy cops helps to build dramatic tension, while also providing numerous comedic opportunities. Though some credit 1981's Night Hawk starring Sylvester Stallone and Billy Dee Williams as the first buddy cop movie – and it very clearly influenced other, more successful, ‘80s movies like Beverly Hills Cop, 48 Hours, and Lethal Weapon – the origin of the

Frequently maligned as a sign of the “lack of imagination” or “unoriginality in Hollywood," sequels have pretty much become accepted, and even expected, by moviegoers, especially after some of them turned out to be better than the originals. Even more frequently disparaged than sequels are reboots, a relatively new term to describe the creation of a new film continuity within an existing, established franchise. Producers may believe they are “refreshing” the franchise for a new audience, but many moviegoers feel like reboots are “ruining” their “childhood memories," with inferior products that push Hollywood dangerously close to “peak suck.” Like sequels, reboots are not inherently bad. Much of the problem – and fan pushback -- revolves around the movies and franchises that Hollywood chooses to reboot: popular, successful films that many feel are perfect just the way they are. After all, 'if it ain't broke, don't fix it,' right? After all, there are plenty of broken movies that could