Bullz-Eye: You, sir, are no stranger to period pieces.

Matthew Macfadyen: I’ve done a few, yeah. [Laughs.]

BE: What was it about “Ripper Street” that stood out for you in particular? Certainly it’s a bit darker than some of your past fare.

MM: Yeah, I thought it was dark. But I just thought the writing was brilliant. I really did. I didn’t expect to…I wasn’t planning on doing another series, but then it came along and I couldn’t stop reading it, which is sort of the acid test for me. So that was it, really.

BE: When you took the role, how much of Det. Sgt. Edmund Reid was on the page, and how much were you able to bring to the part?

MM: It was all on the page. I mean, it’s there. It’s so beautifully sketched out, and there’s so much going on underneath him. He’s got this terrible thing with his family, his daughter, so…there’s a lot. It’s interesting. And I think the writer, Richard (Warlow), doesn’t immediately build the characters, but you know there’s a back story, and it sort of comes out in dribbles. It evolves.

BE: It’s interesting when you actually watch the series because, if you only saw the title, as many people will do, your instinct is to say, “Oh, no, it’s another Jack the Ripper story…”

MM: Yeah. “It’s another one.” That’s what I did, actually. [Laughs.]

BE: How surprised were you when you discovered that, in fact, it wasn’t really about Jack the Ripper, per se?

MM: Yeah, I think that, apart from anything else, it works really well as a dramatic device, because it just confuses everything with a terrible kind of dread, so every murder that happens, you think, “It’s him!” And, after all, he’s still out there. So it’s just in the atmosphere. It’s in the air.

BE: As far as the clothing, is there anything particularly unique about your attire that stands out as more comfortable or less comfortable than past period pieces?

MM: No, it’s quite nice. It’s quite nice wearing a suit. The starched collar is a bit tiresome after awhile. But, no, it’s great. My hat…I’m particularly fond of my hat. Especially fond of it. [Laughs.]  I went to a stop called Locke’s in London and bought it for the part. And they let me keep it!

BE: You said you hadn’t necessarily been planning on doing television again…

MM: Well, series TV, anyway.

BE: Series TV. I stand corrected. But prior to this, you’d certainly done your fair share, with the most high-profile in the States probably being “MI-5″ (known as “Spooks” in the UK). Did you enjoy the challenges of doing a spy drama?

MM: Oh, it was great. Fantastic, really. I loved it. It was really, really good. But a long time ago. God, that was, what, eight, nine, ten years ago? Wow…

BE: As noted, you started in theater, but what led to you catch the acting bug in the first place? Do you come from an acting family?

MM: Not really. My mother trained as a drama teacher, and my grandfather was an engineer, but he directed amateur plays and loved it. That was his hobby. His passion, if you will. But I did plays at school and I loved it. And then I managed to get into drama school, and that was that.

BE: Was there a particular moment when you decided, “I’m going to make this a career,” rather than just treating it as a hobby?

MM: No, it was a slow burn, kind of, “This is going to be impossible,” then, “Can I do it?” But that was what I wanted to do. I didn’t really seriously consider anything else. I thought if I didn’t get into drama school the first time, then I’d wait and try again the next year. Because I was still very young when I went.

BE: I’ve asked some this people and been told, “I hate to say that I’ve made it even now, because I don’t want to jinx myself,” but was there a moment when you realized definitively, “Well, I’ve done it: I’m a full-time actor”?

MM: No, there was never any kind of “eureka!” moment. When I left drama school, I did three world tours with the theater, so I was just sort of…doing it. It’s lovely, and I love it. I don’t know what else I’d do. I mean, I really don’t know what else I’d do! [Laughs.] I don’t have any other strings for my bow! Thankfully, I’m doing okay…

BE: How was it for you to transition from theater into television, as far as the projects that weren’t literary adaptations?

MM: Oh, it was fine. Yeah, the first TV I did, I didn’t know what was going on, because we didn’t really have much TV training at drama school, really. So everybody…I mean, now it’s changed and they do, but you sort of learned on the job. My first job, actually, was a “Wuthering Heights” adaptation for BBC, and I sort of had to come through a gate. My first-ever scene, I had to come through this gate and sort of walk up, grunt at somebody, and…that was it. And they said, “Check the gate!” But, you know, what they meant was when they check the film in the camera. But for weeks and weeks I couldn’t pluck up the courage what on earth they meant, because I thought they meant the actual wooden gate! [Laughs.] So, yeah, that was terrible. But then you sort of get used to it.

BE: Is there still the mindset as far as TV being a step down from the theater, or does it not exist as much nowadays?

MM: Nah, I don’t think… [Hesitates.] Well, I don’t buy into it, anyway. What’s lovely about being an actor – for me, anyway – is to be able to segueway into TV and film and theater and…do everything, really. I mean, I don’t understand people who feel snobbish about…you can feel snobbish about the quality of the writing or what you’re doing, but not the medium.

BE: Many actors will say that they do films so that they can afford to do theater.

MM: Well, yes, there is that. [Laughs.] Yeah, you sort of accumulate children and mortgages and things like that, and you think, “Can I afford to do a play? No.” It’s sad, but…yeah. But it’s wonderful when you can.

BE: Is there any elder statesman of acting, as it were, who you learned a great deal from?

MM: Um…well, you know, you kind of absorb stuff without knowing it from lots of actors. And I’ve worked with some lovely actors. Michael Gambon, I loved working with him. I’ve worked with him a few times.

BE: Do any specific lessons leap to mind?

MM: No, it was really just a case of generally absorbing. If there were specific lessons, they’d be difficult to pinpoint. Generally I just learned how to conduct myself.

BE: As far as some of your other past projects, I’m curious how you came to appear in “Grindhouse.”

MM: Oh, that. [Laughs.] I haven’t seen the film, actually. But it was just a one-off. My agent rang and said…well, it was just to help out and do the trailer (for “Don’t”).

BE: Had you been a Quentin Tarantino / Robert Rodriguez fan?

MM: Oh, well, that was actually neither of them who directed that. It was Edgar Wright of “Shaun of the Dead.” He was asked to do it, so a bunch of us came and did it, so that’s how that happened.

BE: You also appeared in a “Mr. Bean” short.

MM: Yeah, for Comic Relief.

BE: Was that a similar case to “Grindhouse”?

MM: Yeah, they just rang me, and I went down to do it. It was great.

BE: How was Rowan Atkinson to work with? He has a reputation for being one of the most serious comedians you’ll ever meet.

MM: Oh, he was lovely. Serious, yes, but a very nice man, indeed.

BE: To touch on another of those earlier period pieces, how was the experience of working on “Pillars of the Earth”?

MM: I liked that a lot, actually, because it was nice people on it. Nice actors. We had a hoot. Drank too much. And we were hungry for…well, for what felt like three years. We went right through the seasons, went from boiling hot to freezing cold. But it was really good. Good fun. The worst thing was my haircut. I just had this idiot’s haircut. [Laughs.] Nothing sexy about that, I can tell you.

BE: Do you have a favorite project that you’ve worked on over the years that didn’t get the love you thought it deserved?

MM: That’s a good question. Let me think. [Long pause.] I did a film in New Zealand which I loved called “In My Father’s Den,” but it wasn’t…I mean, no, there’s nothing where I’ve thought, “Oh, that shouldn’t done better.” Nothing I’ve felt undone by.

BE: No, I was just thinking more along the lines of something you wish more eyes had seen.

MM: [Another long pause.] No, there isn’t, really. And there’s very few jobs I look back and think, “Could’ve done without that one.” [Laughs.] It’s a funny business being an actor, ‘cause you really have no plan, y’know? You can kind of decide not to do certain things, and I worry…well, I don’t worry, but I don’t want to do the same kind of part again and again…partly because it’s boring!

BE: You’ve done a pretty solid job of mixing it up. I mean, you’ve obviously done a fair amount of literary adaptations, as I kind of hinted at earlier, but…

MM: Yeah. But even that wasn’t by design. It just kind of fell out that way. I think I might like do a car-chase movie once in awhile. [Laughs.] Something without any boots or britches or swords.

BE: Very early on, you did a modern-day romantic comedy: “Maybe Baby.”

MM: Yes! With dyed blond hair. [Laughs.] The terrible thing was that I thought I was really good in that. I remember going to the screen and thinking…I just sort of felt this rising horror.

BE: “My God. I’ve misjudged my performance terribly.”

MM: [Bursts out laughing.] Yeah, yeah! I thought I was really good. The hubris of the young actor…

BE: How was Hugh Laurie to work with?

MM: Oh, yeah, he was lovely. He was great. He’s hilarious, Hugh. He’s, uh, quite withering as well. He can be kind of scary. And then he played an MI-6 agent in “MI-5” called Jools Siviter. He had a bullwhip. He was very funny. He would hide top-secret documents down his pants. [Laughs.] He was great.

BE: Speaking of modern-day comedies, you were also in “Death at a Funeral.”

MM: Yes. And it was bliss. [Laughs.] I know it’s not everyone’s favorite film, but, God, it was so fun to do. And so funny to read. It was just lovely. Great fun. I haven’t seen the Neil LaBute version.

BE: It’s not bad. For what it is.

MM: [Laughs.] High praise.

BE: Do you have a preference of comedy versus drama?

MM: I enjoy mixing it up. I love doing both. Comedy’s great for kind of blowing the cobwebs away. It makes you feel a bit looser.

BE: After the darkness of “Ripper Street,” maybe you should seek out a slapstick comedy as your next project, if only to lighten things up a bit.

MM: Yes. I think that might be in order, because if it goes again for another season, it’ll be another six months of doom, gloom, and bodies on autopsy-room tables. After that, I think I could do with a laugh. [Laughs.]

It’s likely you were first captivated by her Oscar-nominated performance in 2009′s “Up in the Air,” but that doesn’t mean the widely acclaimed comedy was Anna Kendrick’s first go-round in the world of big time performance. Ms. Kendrick, who is also a very fine singer, had been one of the youngest Tony nominees of all time when she was recognized for her work in a Broadway revival of “High Society” at age 12. Her first major film role was nevertheless four years away with another award-nominated musical appearance in the indie fave, “Camp.”

A few more years of hard work would land the young actress a leading role in the mostly well-regarded coming of age comedy “Rocket Science” and a recurring part in the pop culture behemoth we call “The Twilight Saga.” Still, it was only when Anna Kendrick wound up stealing scenes from George Clooney and Vera Farmiga that she became one of Hollywood’s hotter faces to look out for. She also earned the attention of geeks around the world with her role as Michael Cera‘s acerbic yet gorgeous younger sister in “Scott Pilgrim vs. the World”; her reported romance with director and uber-film nerd Edgar Wright (“Shaun of the Dead“) probably did no harm to her already impressive and growing dweeb appeal. The 20-something actress’s most recent non-”Twilight” major film appearance was as a romantically conflicted therapist in the cancer comedy, “50/50.”

Purportedly inspired by the self-help bestseller of the same name, “What to Expect When You’re Expecting” features Kendrick as a food truck proprietor whose fling with a high school flame (Chace Crawford) results in a surprise pregnancy. She was busily promoting the film when we caught up with Ms. Kendrick at the Los Angeles Four Seasons one Cinco de Mayo afternoon. There, she proved herself to be up to the 5 questions challenge, giving succinct answers to our slightly longish questions.

1. You play a professional chef in the movie. Do you cook in real life, and what was the most important thing you learned about food preparation while making the film?

I cannot cook. I bake a bit, but I cannot cook to save my life. We had to take lessons for this. [The most crucial thing I learned in them was] that you have to hold your hand like a claw and not lay it flat, so you don’t cut off your fingernails — like I did.

2. “What to Expect When You’re Expecting” is part of the ever-growing subgenre of interlocking story movies that includes everything from Robert Altman’s “Nashville” to Garry Marshall’s “Valentine’s Day.” What’s your favorite multi-story movie?

Now that you mention “Nashville,” I actually do love that movie. But as far as the modern version of that genre, I actually really love “Love Actually” — but “Nashville” is really great and I loved [Paul Thomas Anderson's] “Magnolia.” That was one of those movies that, when I was a teenager, [I thought to myself], “Movies can be like this? This is great!”

3. You’re probably best known to the public for your really outstanding performance in “Up in the Air.” I was just watching the scene where you kind of break down, and you’re very funny. I was wondering what you think is the secret to comic crying, as opposed to sad crying? I’ll dedicate this question to Mary Tyler Moore.

I like to talk through the funny cry. That makes it sort of easier, but I’m a pretty ugly crier, so that makes it kind of easy also.

4. Let’s talk about your singing roles. What was it like being a 12-year-old Tony nominee? And what about being 16-years-old and making your first movie, “Camp” and blowing everyone away with your version of Stephen Sondheim’s “The Ladies Who Lunch”?

It was obviously incredibly exciting, but I think it’s probably good I didn’t fully understand what a big deal the Tonys were at that age. I think my little 12-year-old brain would have exploded. It was just exciting. I was just happy to be invited to a party really.

["Camp"] was such a magical thing to make. It was everyone’s first film. Now, everyone says, “Making a film feels like summer camp,” but [during] that film we were living at that summer camp. We had no contact with the outside world. There were no cell phones, no computers, no TVs. So, it was just us and the film crew living in this place. It was a very intense and fun [thing] to do with a bunch of teenage non-actors.

5. There’s a clip online of you promoting “50/50″ with your co-stars Joseph Gordon-Levitt and Seth Rogen and discussing how women tend get asked different questions from the press than men do. You get asked about health and beauty stuff, your workouts, etc. What is the most embarrassing or just plain stupid question you’ve gotten and how did you answer it?

In relation to ["What to Expect When You're Expecting"], somebody asked me if I would be prepared for a one-night stand. I was like, “I don’t even know how to get out of this question in a joking way. That is so wrong and weird.”

“Hot Tub Time Machine.”

Bar none the best movie title to come down the pike in years (and hot on its heels is the equally awesomely named “Kick-Ass”), and it had us thinking about what we consider to be the all-time best movie titles. But first, we had to set some ground rules. Porno titles were obviously out (too easy), as were movies named after plays, songs, books or lines of poetry (borrowed material). Bonus points were given to titles that were either startlingly direct or looked like unfinished Mad Libs, thus provoking a reaction along the lines of Lisa Simpson when she saw “Yahoo Serious Film Festival” on a marquee (“I know those words, but that sign makes no sense.”) Horror movie titles were so plentiful that they received their own list, though a few choice selections made the regular list. Lastly, we feel compelled to remind everyone that this list was made purely for fun, so legitimately good titles – “Alien,” “Fight Club,” “The Texas Chainsaw Massacre,” “Drag Me to Hell,” “Kill Bill” – were disqualified. Because really, how boring would that list be? Answer: very.

And so, without further delay, here’s our list. Discuss, debate and dissect amongst yourselves.

20. Mega Shark Versus Giant Octopus (2009)
Because, you know, a simple battle between a shark and an octopus is on Discovery Channel twice a week. But a mega-shark and a giant octopus, that would be…well, craptacular, actually. And that is why we love the title; It’s eye-catching, but for all the wrong reasons. You want to give it credit for self-awareness – this is, after all, a movie that features a shark taking a plane out of the sky, thousands of feet off the ground – but perhaps that is giving the movie a bit too much credit. Still, there was a point where it was the most viewed trailer on the web, so the filmmakers clearly knew what they were doing when they came up with the title. Or maybe it was the irresistible allure of one Miss Deborah Gibson, one of the two.

19. The Brother From Another Planet (1984)
Using “brother” in this context was relegated solely to the exploitation genre until John Sayles wrote and directed this movie about a mute alien being chased by alien bounty hunters. It may seem harmless now, but it was downright ballsy at the time, even for an independent movie. And we totally have to learn the card trick done by the guy on the subway.

18. The Midnight Meat Train (2008)
Come on, who doesn’t want to ride that? Oh, right: everyone.

The thing is, this tale of a photographer who uncovers a subway serial killer is a pretty damn good movie. (And look at that cast: Bradley Cooper, Leslie Bibb, Roger Bart and Vinnie Jones, to name a few.) But that title was apparently too much for some to handle, to the point where after several release date changes, the movie finally surfaces in the dog days of August, making its first run…in second-run movie theaters. It goes down as another box office miss for Clive Barker, but this is easily the best Barker-related movie since “Candyman.” And you’d be hard pressed to come up with a more descriptive yet grossly unappealing title than that one.

17. Shoot ‘em Up (2007)
Sounds like an unholy straight-to-DVD Steven Seagal schlockfest, yes? (Though the preposition is in the wrong place, since Seagal’s movies usually begin with one.) Yes, and then you see Clive Owen and Paul Giamatti are the leads, and Nigel Tufnel’s line about the fine line between clever and stupid comes to mind. “Shoot ‘em Up” perfectly encapsulates what the movie is all about, while underselling it at the same time. “Leave your expectations at the door,” it says, so we did, and walked out grinning from ear to ear. And did we mention the lactating hooker?

16. Spanking the Monkey (1994)
Sexual Euphamism Movie Title #1. Hey, we’re dudes. Even though we like high-brow humor, we’re dudes.

Still, don’t let that title fool you. Yes, there is masturbation going on here, but this isn’t some “American Pie”-type sex comedy. It’s a disturbing black comedy where Jeremy Davies ends up having sex with his mother. Oh, that nutty David O. Russell. Only he could find the humor in incest.

15. Buffy the Vampire Slayer (1992)
You’d be hard pressed to come up with a name as pre-packaged with stereotypes as Buffy. Girls named Buffy are rich, spoiled, not terribly bright, and most likely blonde. (It goes without saying that they’re also white.) What they’re not are vampire slayers, thus making a perfect title for a movie about the textbook definition of reluctant hero. While the TV adaptation clearly surpasses the theatrical release, we still have a soft spot for the movie, due in large part to Paul Reubens’ spectacular death scene.

14. Mars Needs Women (1967)
The movie itself may have been a stock footage fiasco – hey, what do you want, it was made for TV for the price of a ham sandwich – and they made a fatal mistake by taking the subject matter seriously, but that title will live forever, making a memorable cameo in the song “Pump the Volume” and inspiring a level to one of our favorite video games, “Zombies Ate My Neighbors.”

13. Death Bed: The Bed That Eats (1977)
Had they simply named it “Death Bed,” people might mistake the movie for a stirring drama about someone who’s about to meet his maker. But since this movie is about a demonic bed that feeds on human flesh (you read that right), the filmmakers decided to add a little something extra to clear up the air. Not wasting too much thought on the matter, they went with “Death Bed: The Bed That Eats” – “The Bed That Eats” – and boom, a cult legend was born. Credit where credit is due: Patton Oswalt tipped us off to this one. The clips of the movie on YouTube are even funnier than we thought they’d be. Seriously, who plays poker on a bed? Dead people, apparently.

12. Frankenhooker (1990)
Granted, every word is funnier when combined with ‘hooker.’ See, watch: Robohooker. Cyberhooker. Psychohooker. Amish hooker. But nothing trumps “Frankenhooker” on the ‘funny prostitute’ scale. And admit it: you’d risk the itch for a shot at that, wouldn’t you? One woman assembled from several other women to form a, um, dream hooker? (And played by a former Penthouse Pet, no less.) Well, all right, maybe we wouldn’t actually risk the itch…but we’d think about it. Sex with a sex-crazed monster: hey, could be fun. Lord knows there are worse ways to die.

11. Faster, Pussycat! Kill! Kill! (1965)
Its title has inspired a metal band and a techno song (Brittany Murphy, R.I.P.), and Quentin Tarantino wants to remake it, though one could argue that he already has with “Death Proof.” But here’s our question: do people love the movie because it features a group of tough-as-nails strippers, or do they love it because it’s called “Faster, Pussycat! Kill! Kill!”? Had it been named something else, something tamer, like “Stripper Girls on the Loose,” would it have the same cult status today? We doubt it, which is why this movie, more than any other, shows the importance of a great title.

10. Shaun of the Dead (2004)
By stealing the title from George Romero’s game-changing 1978 horror film, but changing that one word, “Shaun of the Dead” sets the tone perfectly. You know the source material (zombies), and the sense of humor (bone-dry). If you’re still unsure what to expect then, as comedian Jeff Marder once said, pull the plug, because you’re just taking up space.

9. Mother, Jugs & Speed (1976)
One is a black man named Tucker who drinks on the job and harasses nuns for fun. One is a disgraced cop who sold cocaine to school children. And one of them has big tits. We’ll let you figure out who’s who.

This movie about a rag tag group of ambulance drivers and EMT specialists also includes the potential rape of an unconscious college student and a junkie murder-suicide (Toni Basil!) …and it’s a comedy. A comedy called “Mother, Jugs & Speed.” At one point, Bill Cosby (yep, he’s Mother) gets a massage from a woman using a dildo. If you want to know why people are nostalgic for the ’70s, this movie sums it up in one word: swagger.

8. Vampiros Lesbos (1971)
It was so cute that the producers of the 2009 straight-to-DVD movie “Lesbian Vampire Killers” thought they were pushing something edgy . We’re guessing they didn’t know that a German film beat them to the punch by nearly 40 years. Exploring erotic horror at a time when the genre barely existed, this tale of an American lawyer lured to an island for business, only to discover that her client is, yep, a lesbian vampire, has a rabid cult following, as does its psycho-lounge soundtrack, which Quentin Tarantino lifted for use in “Jackie Brown.” There’s just something about the foreign translation of “lesbian vampire” that classes up the joint.

7. Slap Her…She’s French (2002)
Just about every ethnic group has someone representing them when it comes to matters of unfair portrayal in the media, cultural insensitivity, etc. But call someone a frog, and no one bats an eye. Those poor French are still getting kicked around like it’s 1965, and this title sums that up as well as anything. The conversation writes itself: “Did she do anything wrong, or hurtful?” “No, but she’s French, damn it. Do you need another reason to slap her?” Apparently, though, the TV censors did need another reason to slap her, because the movie runs on the tube under the nondescriptive name “She Gets What She Wants.” Blech.

As for the movie itself, yes, the title is the best thing about it, but this tale of a Texas alpha female whose life is turned upside-down by a foreign exchange student has its moments, notably when Starla (Jane McGregor) is dragged away from a confrontation with Genevieve (Piper Perabo), screaming, “I’m going to get you, Kermit! You’re going down!” Heh heh, Kermit. Frog jokes: the slur that will not die.

6. Boss Nigger (1975)
This should be disqualified on a technicality since blacksploitation movies by nature have humorous, ‘fuck you Hollywood’ titles. But “Boss Nigger” makes the cut because it would be lucky to see the light of day in today’s climate as a working title, never mind an official one. (See: “Cop Out,” which was known as “A Couple of Dicks” during production.) Indeed, when the movie was issued on DVD in 2008, it was simply titled “Boss,” and writer/producer/star Fred Williamson is surely having a laugh at the knee-jerk reaction the title elicits today, since that was the point all along.

5. Young People Fucking (2007)
Any questions?

4. Dude, Where’s My Car? (2000)
Talk about a movie casting itself. “It’s called ‘Dude, Where’s My Car?’ Go get Stifler and Kelso. No need to call anyone else.” In retrospect, the movie is like a beta test version of “The Hangover”; the two leads wake up with no memory of the previous night’s events, though the path of destruction they left in their wake soon comes back to haunt them. Only this one has twins…who don’t look remotely alike. The movie was admittedly dumb but not without its charms, and while it didn’t deserve a sequel, we were pushing for one anyway, since the only thing better than a movie called “Dude, Where’s My Car?” is a movie called “Seriously, Dude, Where’s My Car?”

3. Donkey Punch (2008)
Sexual Euphamism Movie Title #2 If you’re not familiar with the expression ‘donkey punch’…good for you. That means you’re a testament to clean living, and we could all learn from your example. Now, if you would like to know what it means, go here. But don’t say we didn’t warn you.

Pretty vile, isn’t it? To quote one of our favorite “Futurama” episodes, you’ve seen it, you can’t un-see it.

Truth be told, we still haven’t seen this UK horror import, but the filmmakers get our undying respect for having the nerve to not only write a movie around a fun night of sexcapades gone horribly wrong after a guy kills a girl while executing the move in question, but also naming their movie after it. The title is both perfectly clean and utterly depraved. That’s a pretty impressive trick, by any standard.

2. Snakes on a Plane (2006)
In an industry with an irrational love for vague, meaningless titles like “Edge of Darkness,” “Deception” and “The Happening,” the directness of “Snakes on a Plane” was nothing short of revelatory. It doesn’t get more ‘are you in or out?’ than that, and to think, the producers briefly toyed with the idea of changing the title to “Pacific Flight 121.” What the hell is that movie about? No idea, but “Snakes on a Plane” is about motherfucking snakes on a motherfucking plane, you dig?

Of course, as we all know, the end result did not meet the ridiculously high expectations of the movie’s rabid online following – well, it actually did meet their expectations; it just didn’t meet anyone else’s – and “Snakes,” despite a huge push from Entertainment Weekly and your friends at Bullz-Eye, barely managed to make its money back. The studio will probably say that the title failed them, but our finger is pointed squarely at New Line’s marketing department, who apparently thought the Internet would market the movie on their behalf and did nothing to increase the name recognition. Sorry, guys, but even movies with awesome titles need promotion, too.

1. Breakin’ 2: Electric Boogaloo (1984)
Bow down before your robo-popping, ceiling-dancing overlords, bitches.

Deciding to do a sequel is easy; naming it, not so much. (Ahem, “Alvin & the Chipmunks: The Squeakquel.”) ‘This’ becomes ‘That,’ singular becomes plural, and the words ‘Another,’ ‘Return’ and ‘Next’ are lazily inserted, along with the inevitable Roman numerals. Now look at what the producers of “Breakin’” did after their low-budget dance flick became a left-field hit and there was demand for a sequel: they used a predictable ’2,’ then followed it with “Electric Boogaloo.” Electric, fucking, boogaloo. The result of having balls of steel, or the last-minute inspiration that comes with a suitcase full of cocaine? Doesn’t matter, really; over time, the title has gone from ‘WTF’ laughingstock to holding a permanent place in the pop culture lexicon as the ultimate sequel title in movie history.

Great Titles: Horror Division
This list could literally go on for days, but there were a few that missed the main list that deserved a mention.

Motel Hell
Dead Alive
I Spit on Your Grave
Splatter Farm
Chopping Mall
Sssssss
I Dismember Mama
Terror Firma
Chopper Chicks in Zombietown
Sharks in Venice
Werewolves on Wheels
Vampires on Bikini Beach

Marquee Busters
Remember when there were guys responsible for changing the letters on the marquee outside the theaters? They hated these movies.

The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (Thankfully, this one was made for HBO.)
The Adventures of Buckaroo Banzai Across the 8th Dimension
Oh Dad, Poor Dad, Mama’s Hung You in the Closet and I’m Feeling So Bad
The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!?