Category Archives: Outtakes

Movie-related whatnot

Countdown: Too soon? The Ten Best Films of 2014!

 

2014 is half over? What the? Yeah, we know you’ve just thawed out from winter, but we’re six months in, so time to count down the best films we’ve seen so far:

 

10. Edge of Tomorrow

Aliens meets Groundhog Day in the freshest way imaginable. Tom Cruise’s under seen summer thriller gives him a welcome, multi-faceted role, but Emily Blunt is the real draw. Casting Blunt is never a bad decision, but few could have expected her to turn in such an effective, no nonsense, badass performance. Humor, excellent FX and wise pacing helped to make Edge of Tomorrow the best summer popcorn muncher of the year.

9. Captain America: Winter Soldier

A witty, clever film that respects the past and keeps an eye on the complexities of modern life, Winter Soldier brings the surprisingly entertaining First Avenger very successfully into the present. Great action pieces, even better hand-to-hand combat, a heart and a brain – not to mention a pretty rockin’ cast – catapult Captain America: Winter Soldier into top spot for individual Avenger flicks.

8. How to Train Your Dragon 2

The original HTTYD remains one of the most impressive 3D films ever produced, and while this sequel to 2010’s fresh, fun dragon adventure may get a little darker, it loses none of the soaring, heart-pumping action or impressive visuals. Hiccup and Toothless are joyously together again, battling pirates and cementing the bond between man and beast.

7. Neighbors

Easily the best frat boy comedy since Animal House, Neighbors crams its visually arresting 96 minute running time with as much deeply flawed human comedy as possible. Rose Byrne conquers as a fully developed piece of the comedy puzzle, in a film that gives every character the chance to develop and tell some dick jokes.

6. Big Bad Wolves

Not for the squeamish, this dark fairy tale of predator and prey boasts brilliant performances, nimble writing and disturbing bursts of humor. It’s a hypnotic nightmare that dares you to look away. Big Bad Wolves offers a bold and brilliantly realized effort.

5. Under the Skin

This hypnotic, low-key SciFi thriller – the latest from filmmaker to watch Jonathan Glazer – follows Scarlett Johansson around Glasgow in a van. Light on dialogue and void of exposition, Under the Skin demands your attention, but it delivers an enigmatic, breathtaking, utterly unique vision of an alien invasion.

4. The Lego Movie

The worlds’ coolest toy benefits from a film that obviously loves Legos. Propelled by an upbeat, big-hearted energy and saturated with witty, age-defying sight gags, this is one film that promises to entertain every member of the audience.

3. Locke

A masterpiece of utter simplicity, Locke tags along on a solo road trip, the film’s entirety showcasing just one actor (the incomparable Tom Hardy), alone in a car, handling three different crises on his mobile while driving toward his destiny. It may sound dull, and it certainly can be challenging, but it may just restore your faith in independent filmmaking.

2. The Grand Budapest Hotel

Wes Anderson returns with a film just as nostalgic for old glamour as the filmmaker himself. Bursting with cameos of deadpan glory, showcasing the most impeccable set design you’ll perhaps ever see, and boasting a delightful yet melancholy tale of Europe between great wars, The Grand Budapest Hotel is a triumph.

1. Only Lovers Left Alive

The great Jim Jarmusch reminds us that vampires are, after all, quite grown up and cool. His casting helps. The great Tilda Swinton joins Tom Hiddleston (not too shabby himself) as Eve and Adam, vampires hanging around Detroit. Only Lovers Left Alive is a well thought out film, a unique twist on the old tale, filled with dry humor, exquisite visuals, and wonderful performances.

 

Cbus Thriller to Premiere at Lennox

 

by George Wolf

 

Four friends awake from a night of partying to find themselves in a hell of a mess, and none can remember quite how it all happened.

It may sound like The Hangover, but there’s nothing funny about the business in Premeditated, a Columbus-made murder mystery premiering at Lennox Town Center at 6pm Saturday.

The film follows Stoney (Ray Powell), Guru (Michael Artis), Deuce (Micah Robinson) and Hawk (Mark A. Cummings), independent filmmakers en route to a meeting that they hope will finally give them their big break. They get sidetracked, and in a matter of hours they are the prime suspects in a woman’s disappearance.

Cummings, who also wrote the script and produced, has operated Awalkonwater Entertainment LLC with his wife since 2007. Their first film was Best Supporting Daddy, a romantic-comedy that debuted in 2009. Then, the drama The Buyout was produced in 2010.

The sold-out June 21st event is the only local showing scheduled for Premeditated, but Cummings plans to submit the movie for consideration into various film festivals, in addition to the five he has already contacted.

Cummings and director Joy Millana filmed Premeditated in Columbus, Pickerington, and Grove City, and Millana is able to conjure an effective sense of claustrophobia while the men are held and interrogated by a local sheriff (Louis C. Robins) bent on getting a confession.  As the friends reveal new secrets and reopen old wounds, all four actors get a chance to shine, especially Powell, who gives Stoney a dangerous edge.

In addition to writing, acting and producing, Cummings has self-published three books using the pseudonym Xavier Benoit through his publishing company, Urban Inspirational Books. Find more details on the premiere of Premeditated on the film’s facebook page.

 

Countdown to Lazaretto

Lazaretto, Jack White’s new album, drops today. We’re pretty excited. So excited, we thought we’d spend some quality silver screen time with the mad genius to fully prepare us for the oncoming awesomeness. In case you’d like to do the same, here are some highlights.

Silver Linings Playbook (2012)

White’s music has been used in dozens of films, often to great effect. Even the god-awful School for Scoundrels benefitted from a couple tunes. But White’s “Fell In Love with a Girl” added so much to this excellently played finale dance number that it needs to be noted.

Cold Mountain (2003)

Holding his own in an impressive (if globally confused) cast, White plays a young man avoiding Civil War conscription, living off the land with other runaways. He brings a recognizable, impish spark to some pretty heavy scenes.

Walk Hard: The Dewey Cox Story  (2007)

Jack White is Elvis. What the hell more do you want from a movie? His take on the King is indecipherable genius in an underrated spoof on rock’n’roll biopics.

Coffee and Cigarettes (2003)

Jim Jarmusch, who is both awesome and Ohioan, strings together a series of vignettes with a handful of the world’s coolest people chatting over a beverage and a smoke. Like Bill Murray and Wu-Tang Clan. Who doesn’t want to sit in on these conversations?! Among the most fun is the bit where Jack shows Meg his Tesla coil.

It Might Get Loud (2008)

Somewhere between An Inconvenient Truth and Waiting for Superman, documentarian Davis Guggenheim ambled away from the path of the political into the backstage of the awesome, chronicling three generations of guitar players: Jimmy Page, The Edge, and Jack White. It is loud, and fun, and White, in particular, is fascinating.

 

 

 

Countdown: The Best Sports Commentators on Film

Oh glorious days! When was the last time we had a whole weekend of gorgeous weather? After eight straight months of snow, it was just awesome to make it through May without any icy accumulation – unless you count those hail storms from a couple weeks back. But that’s all over, and we had a whole weekend of sun for baseball (Clippers double header, Indians sweep!). Hell, even the Memorial golf tournament enjoyed perhaps the best weather in its history. It was like a whole weekend needed some kind of announcer to color commentate. It all put us in the mind of some of our favorite onscreen sports announcers.

5. Fred Willard, Jim Piddock: Best in Show (2000)

Christopher Guest’s drolly hilarious send up of dog culture gets, as is so often the case, splashes of lunacy from Fred Willard. In this case, his ignoramus color commentary during the Mayflower Kennel Dog Club Show opposite the perfectly dry Jim Paddock punctures the proceedings perfectly.

4. John C. McGinley: 42 (2013)

As famed sports announcer and voice of the Dodgers Red Barber, McGinley had big shoes to fill. His spot-on delivery added to the historical context 42 was hoping to articulate, and also pointed to Barber as an unflappable pro with a sense of humor and a fluid, soothing delivery.

http://www.youtube.com/watch?v=WEBPl-OxklU

3. Gary Cole/Jason Bateman: Dodgeball (2004)

The Dodgeball straight man/color commentary duo of Cotton McKnight (Cole) and Pepper Brooks (Bateman) from ESPN 8: The Ocho brought that classic bout of titans the gravitas it deserved. Bateman’s as over-the-top as he has ever been in his career, and consummate pro Cole hits dead pan gold as the play by play.

http://www.youtube.com/watch?v=84cwztN3nms

2. Bob Uecker: Major League (1989)

If there is one thing that makes Major League a timeless classic (it is, too!), it’s Bob Uecker’s hilarious play by play announcer. Fed up, feisty and probably drunk, his Harry Doyle kept the film’s pace high and the laughs continuous.

1. Bill Murray: Caddyshack (1980)

‘It’s in the hole!” Proving that he can do anything at all, Bill  Murray puts tears in our eyes as assistant greenskeeper Carl Spackler, imagining his own Cinderella story of coming out of nowhere to win the Masters.

 

They’re Bad, They’re Nationwide

This weekend, Angelina Jolie gets the chance to prove her worth as she brings the best animated villain – Sleeping Beauty’s Maleficent – to life. Among the greatest villains of all time, Maleficent shines brightest even among Disney’s early, magnificent villain output. And that drag she can turn into?! Get out!

It put is in the mood to celebrate cinema’s great villainy with a countdown of the 15 best villains in film.

 

15. Pinhead

Hellraiser in 1987 might have been a forgettable Eighties horror flick were it not for the imagination of Clive Barker, whose sado-masochistic Cenobites journeyed from hell at curious humans’ mistaken request. Chief among them, the elegantly sadistic Pinhead strikes quite a figure with his leather and perfectly placed metal.

Quote: The box. You opened it. We came.

Hellraiser_B2_Pinhead-4

 

 

 

 

 

 

 

 

 

 

 

 

 

14. Max Cady

Whether Robert Mitchum in 1962 or Robert DeNiro in 1991, this tattooed, backwoods psychopath leaves an impression and a cloud of cigar smoke.

Quote: Come out! Come out wherever you are!

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13. Urusula

One of the reasons Disney bounced back from decades of anemic cartoon output with their 1981 Hans Christien Anderson reboot The Little Mermaid was that they finally remembered the value of a good villain, and the sinister, baritone sea-witch Ursula fit that bill.

Quote: Come in, my child. We mustn’t lurk in doorways, it’s rude. One might question your upbringing.

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12. Buffalo Bill

The Silence of the Lambs was the  most honored, most celebrated film of 1991, and yet the miraculous Ted Levine went strangely unnoticed. Dr. Lecter was not the only figure to terrify us in the film, and Levin’s savage menace perfectly offset Lecter’s cool headed danger.

Quote: It rubs  the lotion on its skin. It does this whenever it is told.

silence_of_the_lambs_ted levine_buffalo bill

11. Keyser Soze

This one actor managed to play two different iconic, anonymous killers in 1995, establishing an award-winning career that has bloomed again just recently. The Usual Suspects spins a yarn about a puppet master boogeyman who is everywhere, controls everything, and is willing and capable of doing anything.

Quote: Who is Keyser Soze?

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10. Samara

Gore Verbinski’s 2002  J-horror remake The Ring opened a genre floodgate with dozens of immediate copycats. His skill as a director and his cast certainly helped, but it was the terrifying central villain – the shadowy, sinister, wet and slimy cherub Samara in the well – that made the lasting impression.

Quote: Everyone will suffer.

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9. Cruella de Vil

Disney’s 1961 animated puppy-napping tale was hardly one of their finest efforts, but it did boast one of Walt., Inc’s wickedest villains. Bony, pasty and brandishing a cigarette in a long, sleek holder, Cruelle de Vil epitomized the evils of money. Sort of an early Monty Burns, if you will.

Quote: I worship furs! Is there a woman in this wretched world who doesn’t?

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8. Anton Chigurh

Javier Bardem spooky, tenacious psychopath in No Country for Old Men had such a magnificently twisted sense of purpose, you almost admired him. As long as he wasn’t looking for you.

Quote: What’s the most you ever lost in a coin toss?

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7. Hans Gruber

Alan Rickman did every bit as much to make Die Hard the unforgettable Christmas romp as Bruce Willis. Ever the disdainful straight man to John McLane’s walkie-talkie wise cracker, Rickman brought an irritated elegance to the role of mastermind.

Quote: Do you really think you have a chance against us, Mr. Cowboy?

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6. Wicked Queen

Walt Disney understood the relevance of a good villain perhaps better than any filmmaker of his time, and he proved that right from the get go. Snow White’s ageless Wicked Queen and her bulbous-eyed old hag alter ego both remain the best reasons to dust off the old 1937 classic.

Quote: Wait til you taste one, dearie. Like to try one?

Snow White and the Seven Dwarfs The Evil Queen 1937

 

 

5. The Joker

The Joker is a great villain regardless of the actor, but in 2008, Heath Ledger took ownership of the role. Dangerous, charismatic, darkly unpredictable, he wasn’t interested in money or power, just  chaos. It was a terrifying, sinister place he took the evil clown, and the role will never be the same again.

Quote: I’m not a monster. I’m just ahead of the curve.

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4. Maleficent

Jolie has big shoes to fill, taking on the character that, let’s be honest, is the only reason to sit through Disney’s 1959 animated flick. All angles and cloaks, she’s seriously evil. She casts a spell of death, then turns into a dragon and calls on the powers of hell. Of hell! In a Disney movie. That’s hard core.

Quote: Why so melancholy?

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3. Hannibal Lecter

Anthony Hopkins’s restrained, poised, well-postured psychopath offered the kind of chilly, flesh-crawling terror we hadn’t really seen before 1991’s The Silence of the Lambs. Never flamboyant or showy, the performance felt genuine, which made it that much more terrifying. He was a brand new kind of nightmare, one who was way smarter than you and had a taste for flesh.

Quote: Ready when you are, Sergeant Pembry.

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2. Darth Vader

At this point in history, it’s as if Darth Vader has always existed, but in 1977 – holy shit! That voice and that crazy breathing thing,the cloak and the helmet – coolest looking villain ever! Was he a dude? Was he a machine? A dude with a machine for a head? The Dark Lord was such a unique, powerful villain. James Earl Jones can make any dialogue sound important and impressive, meanwhile, David Prowse’s imposing physicality gave him the presence of a dark god. And a franchise was born.

Quote: Don’t underestimate the Force.

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1. Wicked Witch of the West

It’s tough to top Darth Vader and Hannibal Lecter, but Margaret Hamilton did it. Her iconic look served her beautifully in the jazz-hands glamour of Oz. She looked amazing, plus she had flying monkeys to do her  bidding! She was a glorious image of evil, and because she was in relentless pursuit of a little, lost girl, she became the stuff of nightmare for generations of children.

Quote: I’ll get you, my pretty!

 

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Cbus Filmmaker to Premiere Short at Gateway

 

by George Wolf

 

As Ali Milo prepares for the debut of My Being is Bond, his first filmmaking effort, he talks about the inspiration that drove the project.

“I wanted to make a film that shows what Columbus, Ohio can locally produce. I also wanted to make a soundtrack to accompany the film that features local artists in different genres like rap, R&B, and spoken word. Inspiration comes loosely from my life and the circumstances and realities that many young African Americans deal with, not only in Columbus, but wherever they might be.”

My Being is Bond, written and directed by Milo, will premiere Tuesday, May 27th at the Gateway Film Center. The film follows Darren Hill (Anthony West), a young man facing various pressures in life who suddenly has an epiphany about his future.

Milo is a Columbus native with degrees from both Full Sail University (a music and entertainment school in Florida) and Ohio State. He found his actors by posting notices at various places around Columbus, as well as online, and then holding auditions to make his final selections. Milo displays a nice touch with his inexperienced cast, and West shows some raw, natural acting ability in the lead role.

The premiere event will begin at 7pm, will a brief  introduction from Milo. He will also conduct a Q&A session following the 35-minute film.  Tickets are $10 and can be purchased online at https://www.movietickets.com/purchase/perf_id/741552314 or at the theater.  More information can also be found on the film’s Facebook page.

 

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Creature Feature Countdown

Godzilla made a pretty impressive return last weekend, thanks mostly to director Gareth Edwards‘s ability to spectacularly realize monster fight chaos. The old reptile deserved it, really, having been hashed and rehashed in dozens of ways since his birth in 1954. It put us in the  mood for other great creature features, so here is a perusal of some of our modern favorites.

5. The Host (2006)

In 2006, Korea’s Joon-ho Bong took his own shot at the Godzilla fable. The sci-fi import The Host, which tells the tale of a giant mutant monster terrorizing Seoul, has all the thumbprints of the old Godzilla movies: military blunder, resultant angry monster, terrorized metropolis. The film’s often comedic tone gives it a quirky charm, but seriously diminishes its ability to frighten. Host does generate real, claustrophobic dread when it focuses on a missing child, though. Along with its endearing characters, well-paced plot, and excellent climax, it makes for a worthy creature feature offering.

4. King Kong (2005)

That’s right, we are dismissing the 1933 original and, obviously, the 1976 debacle in favor of Peter Jackson’s remarkable feat of intimacy and CGI. Andy Serkis offers a stunning heartbeat for the giant ape, and Naomi Watts performs better with a green screen than most actors do with flesh and blood colleagues. Even Jack Black proves his mettle in an effort that reminds audiences of the surprising universality of the old tale.

3. The Thing (1982)

Another reboot makes the list. In 1982, John Carpenter reconsidered the old SciFi standby The Thing from Another World from a Cold War terror into a claustrophobic, icy bloodbath. A beard-tastic team of scientists on expedition in the Arctic takes in a dog. The dog is not a dog, though. Not really. And soon, in an isolated wasteland offering barely enough interior room to hold all the facial hair, folks are getting jumpy because there’s no knowing who’s not really himself anymore.

http://www.youtube.com/watch?v=WC_teYGNxvE

2. Alien (1979)

After a vagina-hand-sucker-monster attaches itself to your face, it gestates inside you, then tears through your innards. Then it grows exponentially, hides a second set of teeth, and bleeds acid. How much cooler could this possibly be? Ridley Scott married haunted house tropes with SciFi creature feature scares to create maybe the greatest alien horror of all time.

1. Jaws (1975)

Thanks to a cantankerous mechanical shark and a relentlessly effective score, twentysomething Stephen Spielberg was able to create mounting dread like no one before him by relying on the audience’s imagination and showing little of his creature. It may have been partly unintentional, but the effect – along with maybe cinema’s greatest buddy threesome of Roy Scheider, Robert Shaw and Richard Dreyfuss – created the most beloved, most influential creature feature of all.

http://www.youtube.com/watch?v=CCjDa44S3kI

The Dreamy Life and Work of Filmmaker David Gordon Green

 

About seven years into filmmaker David Gordon Green’s career, it seemed like he’d found his niche with lyrical, Southern tales that braid poverty with nature, resilience with melancholy. And then he directed the Seth Rogan/James Franco flick Pineapple Express.

I’m sorry, what?

Yes, DGG shook free from that ultra indie aura and dove into Hollywood comedies, and even TV, directing many episodes of Danny McBride’s hilariously wrong HBO series Eastbound and Down. Lately, though, he’s returning to his cinematic roots, as evidenced by his latest effort, Joe.

The filmmaker returned to the Wexner Center of the Arts in March to screen the film, which opens nationwide this Friday. He took a few minutes to talk with MaddWolf.

MaddWolf: The last time I got to talk to you was just before you screened Snow Angels at the Wexner. Now you’re here with Joe. How does the Wex keep getting so lucky?

David Gordon Green: I’ve got some friends there, and the people there are interested in my work. Plus, I always look forward to creative ways to exhibit my movies, not just the obvious ways. So it’s nice to come out to Columbus, show some Eastbound and Down episodes that I worked on, and then present the movie. I enjoy doing that.

MW: Back then, with Snow Angels, you told me you were interested in doing some big Hollywood type movies. You have done that, as well as TV since then. And then you did Prince Avalanche – a delightful, decidedly non-commercial effort. What drives you artistically?

DGG: It just depends how I wake up in the morning, what my dreams were like the night before. I really do work in a kind of whimsical way. I have a great work ethic and I wake up and start working on things. Just as you turn on the radio and tune to a station that you’re feeling, I kind of turn my work efforts to a specific medium that I’m drawn to at that moment. Then I chip away at things until, at a point, something becomes real.

If I’ve got ten things in development – at least in my brain – some of them formally, some of them informally – at a point, something becomes real, and then I really commit to it and give it all my focus and attention. Sometimes that’s radically different from what I’ve just done because I’ve needed that shift in tone or texture or mood in my life.

MW: That kind of sounds dreamy. Is it the greatest thing ever?

DGG: Pretty ideal, I’d say.

MW: Do you prefer one medium to another?

DGG: They all have their advantages. It’s nice to have resources and commercial possibilities, reach a wide audience. It’s amazing seeing a line around the block for a movie you’ve worked on. It’s awesome to have all the toys in the toy chest that you can play with during production, and everyone gets paid.

Other times, it’s nice to make a personal statement and just worry about you and your immediate collaborators. Or, with the opportunities of television, it’s nice to be able to follow a character over a long period of time with some nontraditional arcs of storytelling. It’s very satisfying.

MW: When you set to work on Joe, what made you think of Nicolas Cage?

DGG: When I read the book about 15 years ago, I always imagined Robert Mitchum in his younger days playing the role. When I got serious about making the project, I was trying to think of someone who was a leading man type that was capable of the action and physicality, was capable of the drama and prestige that I was hoping we would shoot for, and also had a sense of humor about him. Cage is the only leading man that has successfully worn all three of those labels as a movie star. He was the first guy I spoke to about it and it was exciting to have him respond to it enthusiastically and immediately.

MW: He has proven in glimpses that he’s among the most talented actors working, but it’s easy to forget that. He’s gotten really strong reviews for his work in this film. What do you think it is about this project or character that brought it out in him?

DGG: He’ll tell you that this role is the closest to who he is of any role he’s ever played. I think it’s that personal investment, that closeness that he had to the role that really brought it to life in a unique way. And as diverse a resume as he has, this is unlike any role he’s ever played.

MW: Tye Sheridan is proving to be an amazing talent. How did he wind up in the project?

DGG: I was a big fan of what he did in Tree of Life. When I saw that, he really popped out at me as the gravity of that movie, the real emotional connection. And then my friend Jeff Nichols was editing Mud and I was helping him out, and we just started talking about it.

Jeff knows the novel Joe really well – Jeff and I worked together as production assistants on a documentary about Larry Brown’s (author of the source novel) life. So he knew Larry, knew I really wanted to find that right young voice, and Tye was coming into the right age. I really liked Tye’s ideas for the characters, and he can improvise really well, which is important to me.

MW: You did not write this one. Gary Hawkins – the documentarian who made the film you mention about Larry Brown – adapted the novel written by Brown. How did this come about? Did the screenplay exist before you were attached?

DGG: I think after Larry passed away, Gary wrote the adaptation as a kind of a tribute to Larry and he sent it to me when it was done. I loved it. I fell in love with it and I thought, well, this is the right time in my life and my career. It’s very ambitious in a lot of ways. I think, for the directorial tools I needed, this was the point I felt confident in it.

I’ve been kicking this around for about four years, I guess.

MW: What was it like filming?

DGG: It was amazing. With someone as seasoned as Nic, and one as young and hungry as Tye, they just complimented each other really well. And then the rest of the cast is mostly nontraditional actors and some street performers and some day laborers that we hired – it was just a fun, eclectic ensemble. We had a really good time. We did go to some really difficult dramatic places, so it’s nice to have people you can trust and have a laugh or a drink with at the end of the day.

MW: What’s next? You going to direct a play?

DGG: I’m just finishing up a movie with Al Pacino and Holly Hunter called Manglehorn. I wrote this with Al in mind, created the character for him. In a lot of ways it was me trying to dig back to some of his early Seventies performances – Panic in Needle Park and Scarecrow – some of the less bravado, more vulnerable roles he’s played. This is 100% Pacino. He’s in every frame, and it was a lovely, wonderful education for me in a lot of ways and inspiration in every way.

MW: Like Cage, Pacino – clearly one of the all time greats – has done some really questionable work over the years. Was it a specific goal for you to put these guys in the position to do great work again?

DGG: Absolutely. They are some of the greatest actors of all time, and rather than trying to rally Channing Tatum or Bradley Cooper to come be in a movie, I thought, let’s find the greats of the greats at a time where they’ll take my phone calls and we’ll go do something that’ll rock the world.

Great Directors’ Horrifying Output

This week, the great writer/director/Ohioan Jim Jarmusch releases just another masterpiece, the vampire flick Only Lovers Left Alive. While Jarmusch is certainly not an easy artist to peg, a vampire film was not exactly a predictable choice.

Still, loads of the most prestigious filmmakers have made horror films. Back in 1960, Alfred Hitchcock made it acceptable for directors of immense talent to take on the genre. In 1991, we even had a horror film win best picture (and actor, actress, director, and screenplay).

Some filmmakers, like Sam Raimi or Brian DePalma, are as well known for horror as for their more mainstream titles. Stanley Kubrick and Roman Polanski were equally at home in horror as they were in any genre. Other giants in the industry, like David Cronenberg and David Lynch, cut their teeth in horror before moving on, while a few, like Jarmusch and Martin Scorsese, dabbled in the genre late into an established career.

Here is a peek at the horror output of some of the greats that you may have missed.

Ingmar Bergman: Hour of the Wolf (1968)

Like all Bergman films, this hypnotic, surreal effort straddles lines of reality and unreality and aches with existential dread. But Bergman and his star, Max von Sydow, cross over into territory of the hallucinatory and grotesque, calling to mind ideas of vampires, insanity and bloodlust as one man confronts repressed desires as he awaits the birth of his child.

Peter Jackson: Dead Alive (1982)

Long before Peter Jackson went legit with the exceptional Heavenly Creatures, or became infamous for his work with hobbits and apes and more hobbits, he made his name back in New Zealand with some of the all time goriest, bloodiest, nastiest horror comedies ever produced. The best of these is Dead Alive, a bright, silly, outrageous bloodbath. For lovers of the genre, the director, or the Sumatran rat monkey, it is essential viewing.

http://www.youtube.com/watch?v=eigwPFVmMIU

Michael Haneke: Funny Games (1997, 2007)

The Oscar winning director behind Amore, The White Ribbon, and Cache, made a horrific experiment of etiquette in 1997, and then again in 2007, with Funny Games. Made first in his native German, and a decade later, with nearly shot for shot integrity, in English, Funny Games upends the comfort of societal expectations in a number of ingenious and terrifying ways.

http://www.youtube.com/watch?v=Has9E7j9Lrg

Lars von Trier: Antichrist (2009)

Lars von Trier’s cinematic output had been punishing viewers for decades. In 2009, he finally embraced the genre that he’d been courting his whole career. Antichrist is a beautiful, poetic, painful, horrifying examination of guilt, laden with all the elements that mark a LVT effort. What’s unusual is that he takes, for the majority of the film, a traditional “cabin in the woods” approach, depositing his unique vision in well-worn horror territory. And once there, he embraces the genre with much zeal. And a few gardening tools.

http://www.youtube.com/watch?v=eBdDcQONmkM

Francis Ford Coppola: Dementia 13 (1963)

Copolla began his career under the tutelage of B-movie god Roger Corman, and Dementia 13 was one of his first solo flights as director. It wasn’t his last attempt at horror – we all remember the abysmal Dracula remake – but Dementia 13 marks the early promise of a guy who understands the power of killing a loved one in a rowboat on a lake.

http://www.youtube.com/watch?v=_tcI47OkNhg

James Cameron: Piranha Part Two:  The Spawning (1981)

Just three years before taking Hollywood by storm with The Terminator, James Cameron showed absolutely no sign of competence behind the camera when he helmed the sequel to Joe Dante’s B-movie Piranha. This time around, those deadly man-eaters manifest a new mutation. They can fly! Sure, it might look like someone standing just off screen is throwing them at naked women and minorities, but they can fly, I tell you! This one is an underseen gem of bad cinema, and it offers an early peek at Cameron’s fixation with water, strong female leads, and Lance Henriksen.

Raunchy Comedy Countdown

We are cautiously optimistic about Neighbors, the new comedy starring Seth Rogan and Zac Effron. With a 97% right now on Rotten Tomatoes, it may just be the next great R-rated comedy. Heady company, if you think about it. And we did. Here, in no particular order, are our 15 favorite R-rated comedies.

Team America: World Police

http://www.youtube.com/watch?v=RPBX47zSktc

Superbad

This Is Spinal Tap

The Hangover

Blazing Saddles

http://www.youtube.com/watch?v=iLNQv19YpG4

Bridesmaids

Animal House

http://www.youtube.com/watch?v=BoS3-yHoaSY

Caddyshack

http://www.youtube.com/watch?v=zrTqenN1SqQ

Tropic Thunder

40-Year Old Virgin

Pineapple Express

http://www.youtube.com/watch?v=bYg2EJLJids

Fast Times at Ridgemont High

Borat

Office Space

Old School