drive | Geekscape

Geekscape Interviews: Mac Quayle, ‘American Horror Story,’ ‘Mr. Robot’ Composer, Loves Synths

by Eric FranciscoAugust 29, 2015

My absolute favorite thing about Mr. Robot, the new USA series about a vigilante computer hacker on a journey to take down the biggest corporation in the world, is the music.

Reminiscent of The Social Network crossed with a dystopian/horror movie, the unnerving soundtrack is an huge highlight for the series. The series’ composer, Mac Quayle, is a rising star in the soundtrack world. Having worked in collaboration in movies like Drive, Contagion, and Spring Breakers before going solo on American Horror Story: Freak Show and now Mr. Robot, Quayle’s distinct style often evokes the darker nature of music with high-tech, synth-heavy sounds.

A few weeks ago I had a chance to speak to Mac Quayle, recently nominated for a primetime Emmy, about his career, from his beginning all the way to American Horror Story and Mr. Robot.

Whether or not you win your Emmy, what was your first reaction to getting that announcement?

Mac: I was really excited. Really excited. Kind of beyond my wildest dreams to be included with such great composers.

What was your inspiration into getting into music? What did you listen to that made you go, “You know what? I can do this.”

Mac: Well, it started with my parents putting me in the church choir when I was six. And it wasn’t really my choice. They just put me in the choir. And that was my introduction to learning music. And I’ve just sort of been on that path ever since.

Was there anything that you listened to later in life that just kept that momentum going?

Mac: I don’t know about one particular piece of music. I’ve certainly listened to a lot, been inspired by a lot of different people along the way. There’s so many, from different phases of life. But some early influences, I’m going to say Devo, Ultravox, New Order, Peter Gabriel…

Really, Peter Gabriel?

Mac: Yeah.

I don’t know why that surprises me. I think that’s kind of cool.

Mac: Yeah, I was a huge fan of his years ago.

What led you into doing soundtracks and movie scoring? I’m not well versed in music, but I know enough enough that it’s a different path than, say, performing like Peter Gabriel. What led you to do movie scoring and TV scoring?

Mac: In a way, it’s like a second career for me. My earlier career in New York was working more in the music business, as a musician, producer, dance remixer, and I did that for a number of years, until the early 2000s [when] the music industry started to find itself in decline and a lot of the work I was doing was drying up. So I decided it was time to move to Los Angeles, and I had a vague idea of getting into scoring, but I wasn’t totally clear. I moved out here in 2004, and I met some people, and I ended up getting my first job working on a TV show called Cold Case, as an additional composer.

I remember that show.

Mac: It was a great opportunity and I learned a lot, and I found that… It seemed like a good fit for me. That was the new direction that my career was taking and I followed it.

Speaking very broadly, soundtrack scoring is more often than not kind of categorized in two different ways. There’s the character theme, and then there’s a piece for a particular scene or moment. Do you personally have a preference for writing one kind of piece over the other?

Mac: Not really. I’m more about whatever works. For me to do a theme for a character, then that’s great, and if it’s more just about a particular scene or a particular feeling, then I’m all for that as well. And sometimes I’ll write a theme for a character and it ends up getting used for that character and other characters. And it works. And so I’m like, “Okay! It works.” That’s all good. I’m basically about whatever works.

What piece of composition do you think has worked the best, the one that just came together almost flawlessly?

Mac: Well, there’s been many, but recently the first piece of music that I wrote for American Horror Story last year, which was actually what got me the job. That piece of music, something about it, it came together not effortlessly, but it wasn’t that difficult to write and it just really seemed to fit the scene. They loved it. They hired me, and then variations of that piece got used so much throughout the entire season, it became a very useful piece of music and components.

This was last season, right?

Mac: Yes. Freakshow.

Your work is noticeably what I’d call kind of like a techno-thriller. You did the soundtrack to Contagion, Drive, I can imagine a hacker out of a William Gibson novel. Even when you use traditional, non-electronic music, they’re very intense and heavy pieces.

Mac: Yeah, I definitely gravitate towards that. On those films you mentioned, I worked with Cliff Martinez, and that’s certainly a bit of his sound and so it was kind of [us] both gravitate towards that.

Is there any reason why you gravitate towards the sound? Or do you just find it works for the material you’re composing for?

Mac: It does tend to work for the projects that I’m working on and that’s part of the reason that they asked me to do it, because they know that’s something that I do. And I also, I’ve just always loved synthesizers. I got exposed to my first synthesizer when I was maybe fifteen. And it just kind of blew my mind. And then I’ve just ever since been obsessed with the synthesizer. I love playing with them, I love how they sound. Now, what you can do with computer technology and all the virtual synth… It’s just an unlimited palette of electronic sounds at your fingertips.

I think one of your most stunning pieces, in my opinion, is your most subdued. It’s in Contagion, when we find out that the strain originated from the bat and the pig. That specifically, do you remember that one, if you remember anything about that … What went into the making of that piece? Because that, to me, … That was just awesome.

Mac: Thank you. And I do have to clarify, that is Cliff Martinez’s score, and I did work on that piece but it’s a collaboration with Cliff. I can’t take credit for it. That piece, I remember it, it was a very strange piece, pulsing, electronic pulsings…

It’s subdued. It’s a reveal. It’s like, “This is what happened.” It’s so stunning.

Mac: Here’s some of the mechanics. This is how film scoring works, sometimes. We had written a piece that was similar to that for another scene in the film. And when we got to the bat and pig scene, we took that piece that we’d written for the other scene, and we put it up against the picture, and it seemed to be a good direction. And so I modified the piece of music to fit the bat and pig scene. So it was not so much like this grand design of, “Oh, what’s the best thing for bat and pig? Let’s write this piece of music.” It was, “Here’s a piece we’d written for another scene. It seems to almost work for bat and pig. I’ll modify it so that it does work.” That’s how that … It’s a little more boring than, “Oh I decided that this pig sound would be really good if I had an electronic pulse.” But that’s just the truth. That’s really how it came up.

https://www.youtube.com/watch?v=A1Ji3Lw_WGw

What is the most vivid memory you have attached to anything you’ve written? What can you listen to, and remember something that’s totally not related to the movie or TV show?

Mac: When I listen to Drive, that I also collaborated on with Cliff. When we finished that film, we were mixing it at his studio for maybe ten days straight. And during that time he had just bought this espresso machine, and we were… the mixes were basically fueled by this espresso machine. And it began this sort of obsession that I’ve had ever since, with espresso. [laughs] And so that soundtrack is always tied to my love of espresso now.

That’s actually really funny to me. The Drive soundtrack is haunting and so many other words, but to you, you just think “Oh, lots of coffee.” That’s hysterical.

Mac: Maybe not so much during the writing of it. It was the mixing, when the espresso [kept] us going for those long days.

What can you tell me about your time on American Horror Story? I know a lot of fans of that show. What was that experience like?

Mac: It was really a dream come true. And it was a dream that I didn’t even know I had. I had not watched the show before I was hired. It was on my list. I had heard great things about it but I had not seen it. And if you had asked me, “What show do you think will be a great show for you to work on?” That would not have been on the list.

It would seem out of your style, out of your general forte, at first glance.

Mac: But when I found myself working on it, I was about a month in, and all of a sudden it felt like my whole life had been leading up to that point. I was just using all these different skills, and musical styles, and all these things that I had never really been able to come together on a project before. It was great. I was kind of amazed. It caught me by surprise.

The season finale to Mr. Robot airs on USA Network on September 2 at 10pm ET.

https://www.youtube.com/watch?v=Ug4fRXGyIak

36 Great Halloween Marathon-Worthy Movies (That Aren’t Horror)

by Eric FranciscoOctober 6, 2014

I don’t even need to describe how popular it is to watch horror movies during this time of year, do I? You do it. Your friends do it. You probably do it with your friends. You might even do it with your parents if they’re cool. I need to work on phrasing, but especially in the Age of the Binge-Watch, Halloween movie marathons are a popular modern ritual.

Although it makes all the sense in the world to indulge in horror movies during the one month you’re pretty much obligated to, there’s no reason you can’t change things up a little bit. There exists countless horror-ish films that would be perfect for a Halloween binge-watch to throw in between A Nightmare on Elm Street and pretty much any Stanley Kubrick movie. From dark genre movies, visceral documentaries, to grim comedies, here’s a fun list of movies to select from if you don’t feel like watching the later Friday the 13th movies for the bazillionth time.

Also, I chose not to include some of the more obvious choices. The idea is to change things up a bit more. So no matter how much you love them, I have not included Van Helsing, nor American Psycho, or Ghostbusters, Shaun of the Dead, Freddy vs. Jason, The Nightmare Before Christmas, Zombieland, or even Hocus Pocus. You probably already watch Hocus Pocus anyway.

You don’t need to watch everything here. Take one or two to spruce up your Halloween marathon. You might be pleasantly surprised.

This is also by all means not a complete list. These are just suggestions.

The Crow (1994, dir. Alex Proyas)

An amazing film was created for almost $15 million in 1994. $8 million was added for tragic reasons. On Devil’s Night in Detroit, rock star Eric Draven and his fiance Shelly are murdered. One year later, Eric rises from the grave for revenge.

Although kind of an obvious choice given its grim aesthetic, this film is largely undiscussed during Halloween, and that baffles me. It came at the right time: smack dab in the grungy 90’s, when comic books started overcompensating for their campy roots. The Crow is rightfully celebrated for being a weird, stylish gothic action film. Eric Draven is such a cool character, I mean just fucking look at him. It’s no wonder Sting modeled a look right after him in WCW (and has kept that look ever since). Have you ever listened to the soundtrack? Listen to it. It’s a great collection of grunge-gothic rock from the only decade that kind of music could ever exist.

Sadly, the film’s production was troubled; the death of its star, Brandon Lee, was killed under freaky circumstances during filming. It’s far more haunting when you consider his father, the legendary Bruce Lee, also passed away during production of The Game of Death. Although incredibly unfortunate, it has made this awesome, kick-ass movie otherworldly.

Gojira (1954, dir. Ishiro Honda)

Casual filmgoers scoff at Godzilla movies. It’s the bad special effects and awful dubbing which relegate the films to the schlock B-movie category. Well if they ever do that to Gojira, those people are idiots and they can go fuck themselves. Gojira is superbly grim, and nothing like the silliness (and, let’s be honest, total awesomeness) that followed. Coming almost ten years after the bombings of Hiroshima and Nagasaki that ended World War II, Gojira remains a visual poem to the dangers of nuclear war. The attraction might be a gigantic lizard terrorizing Japan, but at its heart Gojira is very human, as the people who can stop the monster struggle with their own inner demons and ask questions no one is willing to answer. The black and white cinematography add to Godzilla’s mystique and his grotesque form is made stranger with the less you see. You can pick a later Godzilla movie and laugh and cheer at the G-man. You watch this one, however, and you’re terrified but awe-struck by his destructive elegance.

13 Assassins (2010, dir. Takashi Miike)

One of the most thrilling samurai epics in recent film history, horror master Takashi Miike explores other genre territory but brings along the tools he knows best in 13 Assassins. A lord with unlimited power wreaks havoc at will, and so a gang of samurai band together to put an end to his madness. Although very much a samurai film, Miike’s signature gore and macabre visuals are in full display; vivid red blood pours out of a man’s belly from ritual suicide, a woman in ghostly white geisha make-up is left without limbs, a monster of a ruler target practices his archery against children. It may not be a horror film, but it can be pretty damn close. Watch for the climactic showdown. It’s a whopping 50 minutes.

The Animatrix (2003, dir. various)

I love The Matrix. Even if Reloaded and Revolutions aren’t well-favored by most, its ambition and imagination still exceeds even some of the more revered films out there. I could put the entire trilogy on this list, but you’ve already seen them and you’re probably one of the many who hate the sequels. But I also don’t need to, because The Animatrix exists and believe it or not, it’s pretty fucking terrifying. This anthology brings together some of the biggest names in anime, and serves as a wonderful exercise on the auteur theory. Each short is wildly different from the next, and its scope is boundless despite being no more than maybe ten minutes each. My personal favorite is “A Detective Story” (pictured) but you absolutely need to watch “The Second Renaissance.” In fact, I’ll allow you to skip most of the film if you must (although you shouldn’t), but “The Second Renaissance” is mandatory viewing.

Dredd (2012, dir. Pete Travis)

I liked Dredd but I didn’t love it. Still, as a throwback to super violent 80s/90s action movies (and a dash of sci-fi), with modern special effects, grungy locales, and an antagonist straight out of a prog-rock album, it’s worth watching. Especially on Halloween, if you find yourself tired of helpless teenagers, it will be refreshing to watch someone totally capable of kicking ass. I’m hoping for a sequel that far exceeds the quality of its predecessor, but until then, Dredd isn’t a bad choice.

Room 237 (2012, dir. Rodney Ascher)

If The Shining isn’t a part of your Halloween marathon, you’re a complete failure. It truly is one of the best films, period, we’re not even talking horror. However, a fantastic companion piece is the documentary Room 237 that delves into some of the most bizarre critical theories about this wonderful, weird movie. Turn off the lights and turn up the volume. Some of the revelations — whether you agree or not — can be just as terrifying.

Bunraku (2010, dir. Guy Mosche)

No one watched Bunraku. No one. Which is why you should at least check it out, especially this time of year. Costumes and intricate sets galore in this weird, all substance and no style, wacky mish-mosh of jidaigeki and westerns all made by a guy who played a lot of Nintendo growing up. The setting is a total novelty, a vaudeville romp with costumes you’d love to wear to a party. I don’t think it’s particularly good, but I love it. Woody Harrelson plays a mentor figure of sorts, and Ron Perlman plays the villain. You should be sold now.

The Act of Killing (2013, dir. Joshua Oppenheimer)

Nothing is more terrifying than real people doing evil things. No amount of Jason Voorhees and Freddy Krugers can match up to war criminals, corrupt dictators, serial killers, sex criminals, and racists. Enter The Act of Killing, the Oscar-nominated documentary on the 1965-1966 mass killings of suspected communists in Indonesia. 500,000 people were horrifically murdered for even remotely being associated with communism, and these acts and the people who committed them are celebrated in Indonesia today as something of a folk tale. Tons of people who worked on this movie withheld their identities for fear that they will be killed by these monsters who are still alive today. A powerful examination on the human condition and a surreal peek inside the mind of a mass murderer, it is an audacious work of filmmaking and far more paralyzing than any horror movie. Make this movie the last to watch for the day. If you’re still human, you don’t want to go on.

Man of Tai Chi (2013, dir. Keanu Reeves)

Probably the least qualified to be on this list, Man of Tai Chi makes it because Keanu Reeves as a kung-fu villain is too good to pass up. Keanu Reeves’ directorial debut is one hell of a action film with excellent choreography and enough of a creepy, sterile setting that feels like it came from a totally different movie. Dramatic lighting, bad ass fights, and exotic locales makes this worth watching if you’re tired of cabins in woods.

Detention (2010, dir. Joseph Kahn)

I’m kind of breaking my own rules here because Detention is technically a horror movie, but way, way, way more people need to see this kintetic teen rollick. A true groundbreaker in genre filmmaking, Detention‘s plot is kind of hard to sum up, but it involves a horror slasher come to life, high school, time travel, a bear, UFOs, and a super meta examination of modern teen movies. Joseph Kahn’s ADD-filled tribute to 90s culture is like Scott Pilgrim vs. The World for the click-bait crowd, but that crowd is a little too stupid to appreciate this awesome, kick-ass flick. And you’re not stupid, so watch Detention.

If there is ONLY one movie to take from this list, make it Detention.

Ninja: Shadow of a Tear (2013, dir. Isaac Florentine)

Ninjas are a popular costume for people like that asshole Jake who is going out with your ex-girlfriend. So cleanse your palette and watch real ninjas like Scott Adkins and Kane Kosugi kick total ass that douchebags like Jake can’t because he’s a douchebag. Ninja: Shadow of a Tear gets bonus points because Scott gets his ninja costume FROM A GRAVE. So that’s kinda Halloween.

Super (2010, dir. James Gunn)

James Gunn went from indie rock filmmaker to Super Bowl halftime after this year’s Guardians of the Galaxy, so if you’re unfamiliar with his work the time to check him out was six months ago. He has a more Halloween-appropriate comedy/horror flick in Slither but since the goal of this list is to branch out, Super is appropriate. It is strictly a superhero movie, but it contains such dark humor you’re left laughing uncomfortably. “You can’t walk anymore!” yells Ellen Page in a superhero costume to a criminal she crippled. When it’s not making you laugh, it can be just as dark as a Stanley Kubrick movie.

Batman: Mask of the Phantasm (1993, dir. Eric Radomski and Bruce Timm)

Heads up: There are three Batman films on this list, but don’t worry: none of them are helmed by Christopher Nolan, or even Tim Burton (and Joel Schumacher). Originally planned as a direct-to-video release, it strangely got a total theatrical release and consequently bombed due to short notice. But who cares, because this is arguably one of the best Batman movies period. A strange vigilante has shown up taking out criminals and the police mistake him for Batman. Batman then tries to clear his name while finding out who is the strange new crime fighter. Dark, smart, and beautifully animated, it’s appropriate being the film coming from the best cartoons ever made.

Batman (1966, dir. Leslie H. Martinson)

Because there really are some days you can’t get rid of a bomb. Here’s a tip: Don’t be a loser and watch The Dark Knight for the umpteenth time. The pro-Men’s Rights guy that you argue with on Facebook sometimes is watching The Dark Knight. Don’t be that guy. Indulge on the utter nonsense that was the 1966 Batman, arguably the best Batman we’ve ever had.

Batman: Under the Red Hood (2010, dir. Brandon Vietti)

Batman: Under the Red Hood just might be one of my favorite Batman movies. This tight, emotionally-wrenching animated film about Batman crossing paths with the Red Hood is super fitting for Halloween. While legendary Kevin Conroy does not voice the Dark Knight, Bruce Greenwood does an excellent job, as does the rest of the cast of this great piece of animation. John DiMaggio exceeds as the Joker, which is shocking because I never thought his deep, scruffy voice would ever fit the clown prince. Just look at that image above. You can tell you’re not in for your usual after-school cartoon.

Dogma (1999, dir. Kevin Smith)

I’ll try to defend Kevin Smith as much as possible, but even I can only go so long. While Tusk and Red State may be actual horror movies, Dogma is the one with actual devils and supernatural beings. Two exiled angels attempt to re-enter heaven thanks to a holy loophole, and doing so can unmake the very fabric of reality. It’s got demonic shit monsters, evil hockey players, the thirteenth apostle, and a truckload of dick, weed, and fart jokes. Watch Dogma and indulge on irreverent comedy back when Smith made sense.

Drive (2011, dir. Nicholas Winding Refln)

Drive was a festival darling when it first came out, and since then it has kind of lopsided in its relevancy. People just kind of stopped talking about it. It’s become something of a new Donnie Darko: a dark, gritty movie that seemed cool but is now almost something of a joke. I say almost because once in awhile, when the stars align right, you can still see the kick-ass B-movie, pseudo-horror action noir that everyone else saw that summer in 2011, and not the movie your jerk roommate won’t shut up about. The amazing 80s-centric techno soundtrack is a standout. “Nightcall” by Kavinsky could have opened an 80s horror movie.

Masked Rider The First (2005, dir. Takao Nagaishi)

Even some hardcore genre film fans barely watch tokusatsu, so introduce yourself with this kind of bad, kind of awesome package of B-movie sci-fi/superhero with a touch of horror. Kamen Rider has been a staple of Japanese sci-fi for almost forty years, and this film reboots the jump-kicking grasshopper into a darker hero. There are much better Kamen Rider movies and shows to watch — Ryuki, Kabuto, W, Gaim — but I suspect there’s a chance most of you don’t even know what I’m talking about. So start with, appropriately titled, The First.

Lo (2009, dir. Travis Betz)

Just look at that motherfucker. I’m once again breaking my rules because Lo is still considered kind of a horror movie, but it’s less that and more of an experimental film examining love and loss. Justin has lost his girlfriend, so he summons a demon and tasks him to find her in Hell. Lo is a total dick and a riot, and solid reason why you should watch this, at least if you’re stoned. It might be a little too out there for some people, and it can be eye-rollingly arthouse — some of it takes place on a stage — but there’s enough weirdness to make it a refreshing piece to any Halloween binge-watch.

Following (1998, dir. Christopher Nolan)

When I think Christopher Nolan, I want to think the guy who made Inception and Memento. I hate thinking about the guy that made The Dark Knight Rises. I’m so stoked for Interstellar because Nolan is a masterful, visual storyteller who belongs in cinema, I just hate he had to waste a solid nine years doing Batman. Check out Following to see the sensei when he was a journeyman, and you’ll see he had talent all along. His first film is an claustrophobic noir thriller excellent for this time of year.

Hellboy and Hellboy 2: The Golden Army, or pretty much anything from Guillermo Del Toro (2004 and 2008, dir. Guillermo del Toro)

Ron Perlman plays the candy-bar eating, TV-watching demon who fights and investigates paranormal threats in service to a dedicated government agency. The film adaptations are smart, funny, imaginative, utterly strange, and everything you would want in a dark fantasy blockbuster. The creatures and set designs are signature del Toro, and while you could also watch his other work — The Devil’s Backbone, Pan’s Labyrinth — it’s the Hellboy movies where you’ll have the most fun.

Knights of Badassdom, (2013, dir. Joe Lynch)

Wikipedia classifies Knights of Badassdom as a comedy-horror, and while it’s not entirely wrong it’s definitely far more comedic than horror. In fact, I’d call it comedic dark fantasy. Best friends participate in a LARP (live-action role play, aka something I’m dying to do) and accidentally summon a succubus and it terrorizes the whole park. The production of the film had some trouble; filming started in 2010 but wasn’t officially released until 2013. It stars, among others, the now A-list Peter Dinklage, who has become a household name in Game of Thrones. But before that, the dude was drunkenly swinging rubber swords in what I think is a rather fun, pretty dumb little movie.

Men in Black (1997, dir. Barry Sonnenfeld)

A lot of Will Smith movies are actually watchable on Halloween. I Am Legend stands out, and if I wanted to I’d say Independence Day but we all know when to watch that. But I often forget how good Men in Black is. The sequels have diminished the series, but the first film stands as a tight, fun, wacky sci-fi movie that totally gives the middle finger to paranoid conspiracy theorists who have always feared nameless government agents. The cockroach monster is remarkably terrifying in design.

Mortal Kombat (1995, dir. Kevin Droney)

You’ve just heard the gong and now the music is playing in your head. Based on the video games that have freaking zombie ninjas, Mortal Kombat is probably one of the best film adaptations of a video game, period. While still reeking of B-movie mediocrity, its top-notch fight choreography, practical dark fantasy sets, and 90s camp make Mortal Kombat a total winner for Halloween marathons. It even includes a totally awesome fight scene with Reptile, who has nothing but a coding joke in the first game.

Nightmares in Red, White, and Blue (2009, dir. Andrew Monument)

This gripping documentary traces the history and evolution of the American horror film as a genre and reflection of the cultural psyche. Tightly edited and chillingly narrated by Lance Henriksen (Admiral Hackett in Mass Effect), it’s an educating and entertaining college course condensed into ninety minutes.

Oldboy (2003, dir. Park Chan-wook)

I don’t even know where to begin. Easily in my personal top five, this psychological thriller is a testament to what is possible in cinema. Five-star acting, expert directing and storytelling, haunting cinematography, and a hypnotic soundtrack, Oldboy is a great movie to watch any day of the week all-year long. If you haven’t seen this movie, you’re a failure, but you can redeem yourself if you watch it the one month where you’re allowed to see something fucked up. You won’t see the ending coming.

Pacific Rim (2013, dir. Guillermo del Toro)

I already listed “anything by Guillermo del Toro,” but I need to single out Pacific Rim. I cannot talk about this movie enough. Legitimately one of the best and most imaginative sci-fi movies ever, the film acts as both a loving tribute to kaiju movies, tokusatsu, and anime, and as a flag-planter embarking on its own legacy. Featuring one the most beautiful, haunting, and utterly elegiac sequences in cinema — a child runs alone from the gigantic monster chasing her — is a poignant, truly scary picture of destruction and innocence. Also it’s wonderfully light and funny, a welcome feeling from the summer that brought us the stupidly dark Man of Steel. Pacific Rim is everything you want in a big blockbuster and why you should still go to the theaters. Gigantic kaiju monsters and robots are perfect on Halloween, and this is kaiju at its best. Anyone that looked at this movie, saw giant robots fighting, and scoffed at the notion can rightfully go fuck themselves. Those people lack imagination and should not be bothered with.

Road to Perdition (2002, dir. Sam Mendes)

Breathtaking cinematography, top-notch directing, cool characters, and a gritty aesthetic make Road to Perdition far different than anything you can watch on Halloween. Tom Hanks plays an ex-mobster and father who seeks vengeance for the death of his family. The creepy assassin played by Jude Law is a woefully underrated movie villain.

Soylent Green (1973, dir. Richard Fleischer)

The ending line to this dystopian sci-fi movie is one of the most iconic lines in movie history. And while it’s pretty much a spoiler, it’s still worth watching. You knew Darth Vader was Luke’s father anyway, and you still watched Star Wars. So check out Charlton Heston get freaked the fuck out over what soylent green actually is. It’s a horrific revelation — so, great for Halloween.

Super 8 (2011, dir. J.J. Abrams)

I envy J.J. Abrams. That dude grew up watching Steven Spielberg and Star Wars and what is he doing now? Having movies produced by Steven f’n Spielberg and doing Star Wars 7. Super 8 has been appropriately described as Cloverfield meets Stand By Me. A group of kids making a movie in a small-town in 1979 America witness a dangerous entity unleashed from a train accident. It’s both sci-fi and coming-of-age, so check it out when you’re gorging on candy corns.

Princess (2006, dir. Anders Morgenthaler)

A missionary comes home after his sister, a prominent adult films star, dies of drug abuse. With her 5-year-old daughter left behind, he adopts her and sets out on a vengeful quest to destroy all remaining pornographic materials of his departed sister. The animation — which given the premise, makes the juxtaposition that much stronger — is slightly low-quality, but the storytelling is gripping. Feel free to categorize this under “totally fucked up movies” to watch with bros. It truly is a totally fucked up movie, and on a subversive level not even The Human Centipede can match. Trust me.

Throne of Blood (1957, dir. Akira Kurosawa)

Almost any film adaptation of Macbeth is fitting for Halloween. Witches and demons are everywhere, and on a meta-level the superstition of even naming the play has existed for centuries. Kurosawa’s adaptation of the Scottish play and morphing it into feudal Japan is a haunting, terrifying ride of using evil to rise to power. Toshiro Mifune is always a treat to watch — the man was almost Obi-Wan — and to watch him totally get fucked up is a cinematic thrill. Lady Asaji Washizu — aka Lady Macbeth, portrayed by Isuzu Yamada — has one of the eeriest scenes ever filmed.

V For Vendetta (2006, dir. James McTeigue)

The use of the Guy Fawkes mask as a symbol of millennial, post-9/11 rebellion never ceases to amaze me. I’m excited to read the eventual, inevitable book about the phenomenon. But regardless of your feelings of Anonymous, V For Vendetta remains a powerful piece of dark dystopia with one of the most enigmatic characters ever in fiction. I actually liked the changes made to V in the film, seeing him goof off and cook eggs makes an excellent, fun character. Still rather smart after all these years, its grim and stylish swagger makes V For Vendetta a refreshing Halloween marathon movie. Be honest: If you see V show up in your home, you’d shit your pants.

Watchmen (2009, dir. Zack Snyder)

One day I’ll live in a world where Watchmen is a far more appreciated film than it is right now. But today is not that day. It is still the best film adaptation we could have ever gotten, and it’s an achievement it even exists. The origin of Doctor Manhattan remains one of the most beautifully-shot and chilling sequences in modern filmmaking today. If you can, watch the Ultimate Cut; it is combined with the animated horror short, Tales of the Black Freighter, which solidifies Watchmen a worthy entry into any Halloween binge. Just make it the last one, the Ultimate Cut is almost four hours long.

Lovecraft: Fear of the Unknown (2009, dir. Frank H. Woodward)

H.P. Lovecraft is horror. His influences knows no bounds. From Guillermo del Toro to Neil Gaiman to even freaking Pirates of the Caribbean, the man established so much of what we know as horror today. This appropriately eerie documentary on the man himself is chilling, haunting, and incredibly informative.

Rear Window (1954, dir. Alfred Hitchcock)

Alfred Hitchcock rightfully holds the championship title of the “Master of Suspense.” Plenty of his movies set the bar for what we consider horror today, even if the majority of his films more correctly can be considered suspense thrillers. Yet movies like Psycho and The Birds have influenced generations of horror filmmakers, and no one could teach this kung-fu better than ol’ Al. For this year’s Halloween, if you haven’t already, check out one suspense thriller that is just two steps away from being proper horror: the classic Rear Window. The showdown with the film’s antagonist — a true son of a bitch that could have been a horror movie slasher in a parallel universe — is shot and edited wonderfully that is as terrifying as any top-tier slasher. Any horror fan can watch Psycho. True horror fans will see the terror in Rear Window.

Know of any other non-horror horror movies to watch? Comment below! I’m sure I left out a couple dozen.

Geekscape Movie Reviews: Inside Llewyn Davis

by MCDaveDecember 11, 2013

At the exact moment the final credits rolled, leading man Oscar Issac scurried from the back of the theatre to discuss his newest film, Inside Llewyn Davis. And much to the surprise of the audience members, the handsome clean-shaven actor resembled nothing of his shaggy and depleted onscreen persona. Issac talked at length about famed sibling directors Joel and Ethan Coen’s latest offering and the warm reception it received earlier this year at the Cannes Film Festival in France. The multi-talented actor/musician expressed that, at Cannes, the crowd just “got it”. Much like the woes and hardships prevalent in 1960s American folk songs, the Coens mirror their main character’s life to the same brand of music that flows naturally from his lethargic body. It’s clever and it’s creative, but its also uninspired.

Lleywn Davis (Oscar Issac) is a struggling folk musician living in New York at the start of the 1960s. While spending night to night crashing on the couches of various acquaintances and friends, Llewyn makes one last push at jump-starting his career before he decides to walk away from it all. But no matter how skilled and talented the performer truly is, Llewyn appears to be his own biggest hurdle.

There’s a somber and sorrowful ambiance surrounding Inside Llewyn Davis, something that’s both elegant and depressing all at the same time. Like a magnet, the title character attracts each and every hardship that he encounters. Yet, Llewyn is still shown nonchalantly laughing off the proposed notion that he welcomes these burdens. You see, it’s very important to remember that Llewyn is an artist, perhaps even ahead of his time. His perspective on life and music is slightly off-center, which makes for a remarkably fascinating, but not always likable, character. Thankfully, the Coens bring Drive‘s Oscar Issac to the stage, where he delivers a knockout performance that provides buoyancy to the film. During the periodic moments where Inside Llewyn Davis struggles to thrill the audience, Issac never disappoints. He trudges on, just like his character stomping through the frigid Chicago snow. Although the feature feels more like a mediocre effort from a Coen brothers standpoint, Inside Llewyn Davis still manages to be beautifully filmed and superbly acted. Both of which are regular staples in Joel and Ethan’s long list of accomplished work.

While the Coens have obviously mastered the craft of storytelling, Inside Llewyn Davis has an heir of incompleteness. The tale’s metaphoric foundation and soulful delivery are enough to keep it afloat, but the picture lacks resolve and closure. Despite the rumblings regarding Joel and Ethan’s ineffective endings that have been heard throughout their brilliant careers, Inside Llewyn Davis is definitely worthy of such criticism. Don’t get me wrong, I completely understand the clever purpose behind a final Bob Dylan reference and the slamming of the barred door leading into the dark alleyway. However, I envisioned a bleaker more indelicate conclusion, a place the siblings clearly weren’t willing to go. Occasionally wading through a tiresome and exhausting expedition en route to an unsatisfying resolution, Inside Llewyn Davis suffers from a few self-inflicted limitations.

Trapped in the midst of a cinematic year that feels so feeble in comparison to 2012, all eyes shifted to the Coen brothers. Looking for some film, any film, to run away with this awards season race, it’s suddenly apparent that Inside Llewyn Davis isn’t “the one”. But in conjunction with a collection of fine roles from Oscar Issac, Carey Mulligan and many more, a solid humor-induced script and a smattering of phenomenal live-music performances help guide you along Llewyn’s bumpy journey.

GRADE: 3.5/5

There’s plenty more to see at MCDAVE’s home-site. Click HERE!

Geekscape Movie Reviews: Only God Forgives

by MCDaveAugust 11, 2013

Danish filmmaker Nicolas Winding Refn watched his career skyrocket after the critical success of his 2011 breakout film, Drive. While a small niche of fans have always been familiar with his unique style that’s present in earlier works such as the Pusher trilogy, Valhalla Rising and Bronson, Refn’s brand was placed front and center of the general public after his Best Director crown at the Cannes Film Festival. But love him or hate him, the filmmaker returns with another highly controversial and immensely polarizing piece of cinema in his latest work, Only God Forgives.

Julian (played by Ryan Gosling) and Billy are American-born drug-smuggling siblings living in the criminal underworld of Bangkok. But when Billy is brutally murdered through the oversight of a local police officer, their mother (Kristin Scott Thomas) arrives in town and demands that Julian seek vengeance for the death of his older brother.

Writer/director Nicolas Winding Refn’s Only God Forgives is a perverse and depraved feature, one that alienates a large portion of any viewing audience. But despite the film’s ultra-violent approach and despicably uncomfortable sexual undertones, the Danish filmmaker’s most recent effort is both stylish and compelling. For all of its brutality and uncontrollable downward spiraling, Only God Forgives is exactly like the accident that unfolds before your eyes, but you can’t look away. There’s something dark and animalistic deep within humanity and Refn not only tries to capture that essence, he actually savors it. I applaud the director’s keen sense of wonder and the reckless ambition that drives him to make such a gritty and daring film. Because without filmmakers pushing the envelope and crossing boundaries, we’re left with nothing but summer blockbusters and mundane stories. If not for any other reason, Nicolas Winding Refn deserves a gratuitous amount of respect.

Truth be told, Only God Forgives is messy feature with a slew of shortcomings. For anyone who felt that Drive was too sluggish of a film with minimal dialogue and drawn-out sequences, Refn’s newest release takes those aspects to a whole other level. Doing so merely for dramatic effect, the end result is a poorly paced and unfulfilled viewing experience. Rather than dialing up the adrenaline and keeping the movie up-tempo, Refn resorts to long sustained shots that force Only God Forgives to unwind at a crawling pace. And while I’m usually not the type of person to harp on about excessive violence, Winding leaves nothing to the imagination with his show-all approach. Clearly the type of film meant for a select audience, Only God Forgives is certainly an acquired taste.

Highly regarded stars Ryan Gosling and Kristin Scott Thomas find themselves in the forefront of Nicolas Winding Refn’s latest piece of work. Although many will question their decisions to jump on board this revenge-filled tale of murder and sexual deviance, it’s these gifted performers who truly make Refn’s unconventional story come to life. While I emphatically suggest staying away from this film for a multitude of reasons, any avid fan of Refn’s previous stylish work may find a bright spot just like I did. But only if you can stomach it.

GRADE: 3.5/5

For other MCDAVE work, visit his host site Movie Reviews By Dave.

New Trailer Released For Nicolas Winding Refn’s ‘Only God Forgives’

by Derek KraneveldtApril 19, 2013

Earlier this month we showed you the very first, rather red-band trailer for Nicolas Winding Refn’s follow up to 2011’s Drive, Only God Forgives.

If you liked the pairing of Refn’s amazing style and attention to detail, and Ryan Gosling’s cool, calm performance, you’re in for an absolute treat here, as the duo has teamed up again for this one.

It’s a great trailer for what looks to be a phenomenal movie. Watch it below, and let us know what you think! Only God Forgives hits theatres on July 19th.

Julian (Gosling) lives in exile in Bangkok where he runs a Thai boxing club as a front for the family’s drugs smuggling operation. When Julian’s brother Billy is killed their mother, Jenna (Kristen Scott Thomas), arrives in the city. She wants revenge and forces Julian to find the killer. Julian’s contacts in the criminal underworld lead him directly to The Angel of Vengeance, a retired police officer who knows everything and who is both Judge and Punisher. Jenna demands that Julian kill The Angel of Vengeance, an act that will cost him dearly.

Watch The Red Band Trailer For Nicolas Winding Refn’s ‘Only God Forgives’

by Derek KraneveldtApril 3, 2013

Nicolas Winding Refn is the fucking man.

I absolutely loved 2011’s Drive. The movie was simply so stylish, so atmospheric, so well thought out that I found myself absolutely on the edge of my seat through its entirety, and absolutely wishing for more once it was done. And don’t forget about that soundtrack; today, even two years later, I start my journey to work every single morning with College/Electric Youth’s ‘A Real Hero’, and it never, ever gets old.

Refn and Ryan Gosling are teaming up again, this time for a film called Only God Forgives. Today, a red band trailer for the movie was released, and if you liked the phenomenal sounds and imagery in Drive, you’re in for a treat with this one.

Watch the trailer for Only God Forgives below, and let us know what you think. The movie hits theatres on July 19th.

Julian (Gosling) lives in exile in Bangkok where he runs a Thai boxing club as a front for the family’s drugs smuggling operation. When Julian’s brother Billy is killed their mother, Jenna (Kristen Scott Thomas), arrives in the city. She wants revenge and forces Julian to find the killer. Julian’s contacts in the criminal underworld lead him directly to The Angel of Vengeance, a retired police officer who knows everything and who is both Judge and Punisher. Jenna demands that Julian kill The Angel of Vengeance, an act that will cost him dearly.

Check Out The Trailer For The British Remake Of ‘Pusher’

by Shawn MaddenSeptember 20, 2012

The trailer for the British remake of Drive director Nicolas Winding Refn’s Pusher has hit the net. The mere fact that Refn is producing this should have you sold on it. I never saw Refn’s original films but the trailer for Luis Prieto’s version looks great. And with Refn involved as an executive producer I highly doubt that it is going to be much different than the original. It definitely has vibe that is similar to Drive. And that’s definitely a good thing.

Based on the edgy and explosive series by visionary director Nicolas Winding Refn (DRIVE), PUSHER stars Richard Coyle as a drug dealer who grows increasingly desperate over the course of a week after a botched deal lands him in the merciless clutches of a ruthless crime lord. The more desperate his behavior, the more isolated he becomes until there is nothing left standing between him and the bullet his debtors intend to fire his way.

Pusher will be available on VOD and iTunes on September 28th before it hits theaters on October 26th.

‘Barbarella’ Being Brought To The Small Screen

by Shawn MaddenJune 20, 2012

There has been talks about a new Barbarella movie coming to the big screen. Now Deadline is reporting that Gaumont International Television and producer Martha De Laurentiis are bringing Barbarella to a television screen near you.

And they have some serious talent set up already behind the camera.

Nicolas Winding Refn (Drive, Bronson, Valhalla Rising) will direct and executive produce, and calls the character, “one of the ultimate counter-cultural characters.”

Cue fan-casting the lead role!

Geekscape Roundtable: Fictional Characters We’d Bang… PART ONE!

by GeekscapeStaffJune 8, 2012

Yeah, that’s right. Part 1. This is such an in depth topic that it’s getting a sequel.

Everyone has a fictional character they’d bang, whether it’s someone from a movie, a comic, or a car insurance company. So the Geekscape staff put together their top 5 lists, High Fidelity style. We even got The Devastator’s Geoffrey Golden in on the action!

Molly ‘Mayhem’ Mahan

Rambo: I actually poised a similar question to my mother the other day (we have that kind of relationship), only it was “Rocky or Rambo?” She went with Rocky and I couldn’t disagree more. While I do love the Italian Stallion, few things get me going more than a man who knows how to wield a bow (It’s the Dinah Lance in me). I remember watching the fourth one (yes, with Old Man Stallone) and the minute he whipped out the compound bow and started laying waste to the enemy, I melted. Additionally, he’s a soldier who disdains the government and authority, but still accepts (or at least performs) his mission, meaning he knows how to follow orders even if he thinks it’s a little weird and will go out of his way to perform. Hardly sounds expendable in the bedroom to me, amiright? And don’t tell me that guy isn’t in some serious need of sexual healing. Bow chicka bow wow.

Ares, God of War: As played by the late-great Kevin Tod Smith on Hercules and Xena: Warrior Princess (did you seriously think you’d get away with me not talking about Xena?). Though a complete and utter asshole on Herc, when the God of War showed up on Xena he was still a bastard, but a lovable one at that. I watched this show during my formative years, so the heat and passion between the two was always something I wanted for
myself, and at times seemed like the ideal. And he could be as sweet as a teddy bear at times, too, so he wasn’t all bad. I watched the show religiously during my formative years, so Ares became without a doubt the embodiment of what I found (and still find) sexy.

Tyrion Lannister: All the other fangirls can have their Jon Snows and Jaime Lannisters, I’ll go with the half-man who has proven time and time again that he knows what to do with a woman. Bonus: he doesn’t feel bad about it nor have incestuous leanings. That clever
tongue of his ain’t half bad either.

Jason Todd: Pre-boot, post-resurrection, and in the Hush black leather costume, please. The man’s got daddy issues, has died and come back, and is hell bent for vengeance. Don’t even try to tell me the sex wouldn’t be crazy awesome. Also, I think that random which patch of hair he had in that costume was cool, I don’t care how little sense it made, it was a neat aesthetic. Plus, banging one of the Robins (especially the one that has been the source of such angst in Bat-lore) just feels so awesomely perverse, I can’t help it.

Saotome Ranma from Ranma 1/2: Although a dude, he can change into a girl when hit with cold water. That must be experienced. Preferably by me.

Looking back on this collection, I realize that I may have some anger issues.

Dave Biscella

Dagger: I’m one of the few that LOVE Cloak & Dagger, so I figure that will give me an in. Plus I could use the line, ‘My addiction to you is one addiction you can’t cure.’

Ariel: She’s clearly pretty confident based on the way she dresses. She’s got beautiful red hair and a nice singing voice. Also, always wet.

Harley Quinn: It’d be like hooking up with a hot Juggalette without having to listen to ICP blare in the background.

Tinkerbell: Petite. Blonde. Looks good in green. Can fly. Can’t talk. Perfect mate.

Ryan Gosling in Drive: He won’t let anybody hurt me.

Ben Dunn

Mystique: The only correct answer to the “Which Fictional Character Would You Bang” question is Mystique. I include all incarnations of this blue skinned she-devil. Movies, comics, video games. The reason being that she can fulfill any sexual fantasy you have. Want to bang Kate Upton? Scarlett Johannson? Ros from Game of Thrones? She can be all of those! You would never have to look elsewhere again.

Echo (Dollhouse): Same reason as Mystique, only she gets to keep Eliza’s amazing body.

Jess (New Girl): Not only is she hot like Zooey Deschanel, but she’s super adorkable! Plus, it seems like she is up for whatever. Definitely couldn’t take her after a few days, so this would probably have to be a one nighter.

Alishia Bailey (Misfits): Her super power seems a bit redundant really, a super hot chick who’s power is to make you want to have sex with her? It’s like a delicious cake having the power to make you want to eat it. Stupid. That being said, I don’t care if I don’t remember it afterward, would still bang.

Thorn (Bone): She has curves in all the right places. Plus she hangs out with a bunch of white Smurf rip-offs, so I would probably be HUGE by comparison!

Editor’s Note: Matt Kelley has called shenanigans on Ben, citing the ‘wishing for infinite wishes’ rule for naming Mystique. This brings up a lot of ethical issues: what do you think, readers?

Eric Diaz

Will Hunting: The titular character of Gus Van Sant’s movie Good Will Hunting, and probably actor Matt Damon’s breakout role. Will Hunting is a rough around the edges, smart ass blue collar type, who is secretly hiding a genius level brain and a sensitive soul. Combined with Damon’s then baby face, floppy blonde hair and lips that look like they were put on this Earth to do one thing, it is all pretty much my own personal form of kryptonite.

Audrey Horne: For twenty years now, Sherilyn Fenn’s portrayal of Twin Peak’s black haired sex kitten in saddle shoes and pleated skirts Audrey Horne has been my go to answer for “if you had to go hetero for one night, who would it be?” My answer will always remain Audrey. Either sultrily smoking cigarettes in high school bathrooms, rolling her eyes at those around her and their small town ways, or causing trouble by going undercover in Canadian brothels, Audrey was always the very definition of sex bomb to
me. It is also possible I really just want to BE Audrey more than bang Audrey…. And that’s not a crime.

The Vampire Lestat: Possibly my favorite fictional character period, Anne Rice’s vampire protagonist is tall, blonde, and kind of a prick (all weaknesses of mine with men) but ultimately a noble soul when it counts. Ya know, except for the whole killing people thing. Instead of brooding about his vampiric condition, he mostly enjoys it and loves all the sensual new pleasures it brings him. Lestat is the prototype for vampires like Spike on Buffy and Eric Northman on True Blood. Although portrayed on screen twice-first by Tom Cruise in an admirable attempt, and later by Stuart Townsend in a movie I’d burn every reel of if I could, neither could come close to evoking the novel’s version of Lestat’s
ambiguous omni-sexual nature. It remains the novel version alone that really gets my juices flowing.

Aquaman: I’m talking classic Aquaman, with the orange shirt, clean shaven face, with the short hair and the big trident (the hippie look Aquaman was a big turn off. I hate long hair on guys most of the time). Why Aquaman? Why not? He’s muscular, super strong and rules 75% of the Earth. Also, he’s tall and blonde, and that’s been my type since I first saw Sam J. Jones in Flash Gordon as a young kid, and got excited for the first time down there. I should mention that runner up in the comic book category has gotta be Dick Grayson/Nightwing. I mean, he’s an acrobat. Do the math.

Chris Evans as Captain America: I’ve never been all that crazy about Cap in the comics, at least not enough to get turned on by him, by Chris Evans’ portrayal of the aw-shucks do gooder with a heart of gold trapped in a little guy’s scrawny body, who then gets turned into sex on a stick gets me going every damn time. I can’t tell you how many times I’ve paused that Blu ray in the scene where he emerges from the super soldier transformation all shirtless and sweaty and hot and…yeah, I’d better stop now. I will
admit, this entry is 50% “omg I really want have sex with Chris Evans” so I don’t know how much of that is him being Cap or not, but I figure I’d get less flack if I posted Chris Evans as Cap and not Chris Evans as Johnny Storm. Who I would also happily have sex with.

Shane O’Hare and Joshua Jackson

Rarity.
Rarity.
Rarity.
Rarity.
Sweetie Belle.

Special Guest Geoffrey Golden: A Girlfriend Approved Sex List

Let me preface this by saying that Amanda, my girlfriend and co-founder of our comedy magazine The Devastator, is not looking over my shoulder as I write this.

The only fictional characters I want to have sex with are ones that won’t make my beautiful, amazing girlfriend jealous. For example, Rosie the Robot from The Jetsons, a robot and not even a particularly attractive one at that (like, say, Lisa from Weird Science, who I definitely never fantasized about every day of 8th grade). Another robot I’d have sex with is Dot Matrix from Spaceballs, voiced by Joan Rivers, a trailblazing comedienne whose work I greatly respect.

Other characters I’d have sex with: Princess Fiona from Shrek, but only in ogre form, because I value inner beauty over outer beauty; the Librarian Ghost from Ghostbusters, assuming the physical contact we could make would be largely unpleasant; finally, Gaia from Captain Planet, who – according to Amanda – would be like having sex with a faint breeze. You know what, I’ll take it! On a related subject, do they make Captain Planet cockrings?

Some women do not want to read the phrase “Captain Planet cockrings” on a computer monitor.

Our culturally significant world changing discussion on cartoons we’d eff continues next week! BE THERE!