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The Dark Knight
When Batman hooks up every cell-phone in the city to a central computer, allowing him to flip down some cool white lenses (which are much more loyal to the comic-book look) that let him see EVERYTHING, we get to experience what it's like to gawp through Bat-eyes.
"Beautiful, isn't it?" We'd have to agree, Bruce.
V/H/S/2
Both V/H/S movies have plenty of FPS shots, but we're going to go for the opening story from the second film, if only because it includes - spoiler alert - a POV shot from an eye that's been removed from its socket . Gross. And iris-poppingly cool.
Doom
Obviously we'd have preferred it if the whole film had been FPS - after all, Doom is one of the earliest / best FPS shooters - but still, when Karl Urban gets out his BFG, rock music kicks in and baddies attack - it's gets our blood pumping every time. Hell, there's even a chainsaw bit - what more could you want from a movie? Decent plot and dialogue, as it turns out. Fair enough.
The Blair Witch Project
Billions of found footage movies feature POV shots, what with most of them involving a camera-man and all, but The Blair Witch Project is the greatest of all the modern entries into the genre.
It's hard to pick one, so we're going to suggest that all of the POV shots are amazing - making the final reveal so much more impactful.
Maniac
Now this is more like it, forget one POV shot - the Maniac remake is a film entirely constructed from them, putting you into the perspective of a brutal killer.
The use of voice-over and mirror moments may make this feel a bit like a particularly evil episode of Peep Show at times, but there's no laughs here. Especially whenever our titular-psycho gets out his knife, and we can't look away.
Spider-Man 3
Ok, so 'cool' may be stretching the definition a little, but it's hard to deny Spider-Man 3 's FPS stroll isn't one of its more memorable scenes.
With Peter Parker consumed by the Venom symbiote, his super-power magically evolves into 'mega-douchery'.
Cue a smarmy, pervy walk down the sidewalk, with the pay-off coming via the offended faces of every lady he passes.
Cloverfield
In a genius move, Matt Reeves and JJ Abrams all but reinvented the genre by putting a camera in the hands of the little people under threat of a skyscraper-sized monster.
There are countless moments to choose from, but we're fond of the opening, in which a party segues swiftly into a panicked evacuation. Cue chaos.
The Diving Bell and the Butterfly
The astonishing story of a man struck down by 'Locked In' syndrome is startling in its claustrophobic focus.
Unable to move anything other than his eyes, the whole movie is a masterclass in drawing the viewer into the protagonist's world.
The first person flashbacks to happier, more able times cut all the deeper.
The Descendants
On a run to clear his mind after discovering his hospitalised wife has been having an affair, Matt King (George Clooney) runs towards an oncoming runner.
As he gets closer, the view switches to Matt's POV and it dawns on the audience as it does Matt - the guy running towards him is the man his wife has been cheating on him with.
Gulp.
[Rec]
When it comes to electrifying, andrenalised terror, scenes don't come more underwear-soilingly traumatic than [Rec] 's introduction to zombieism.
Upon entering the flat of a 'crazed' woman, she barrels down the hallway, all bloody and gnashy in an attempt to eat the camera-wielder.
Eep.
