10 Moms That Will Make You Even More Grateful For Yours This Mother’s Day


With Mother’s Day just around the corner, we’re all feeling grateful for our beloved moms. But just in case you weren’t, we decided to round up 10 of Hollywood’s most horrible mothers to make you extra happy about yours. Afterwards, we think you might want to reconsider being stingy on your gift this year.


Joan Crawford in Mommie Dearest



Who can forget Hollywood’s most iconic bad mom? Starring Faye Dunaway as Joan Crawford, Mommie Dearest is supposedly the real life depiction of growing up with Joan. All I know is, never use wire hangers — or else.


Mrs. Bates in Psycho



Oh, mother. Norman Bates’ mom in Alfred Hitchcock’s 1960 thriller, Psycho, kind of gets an unfair rap. Sure, the lady raised a serial killer with a serious Oedipus complex, but she’s not the real murderer in the film. Spoiler alert: Norman is — he just has a split personality and kills to please “Mother.” In reality, she was his first victim.


Margaret White in Carrie



Margaret White is the hyper-religious, seriously abusive and totally disturbed mother in Carrie. Not only does she eventually try to kill her daughter, but she also kept her locked in a tiny closet for most of her life. But don’t worry kiddos, ol’ Maggie gets hers in the end, when Carrie telekinetically kills her.


Kate McCallister in Home Alone and Home Alone 2: Lost in New York



Kate McCallister from the Home Alone franchise left for vacation and forgot her son not once, but twice. Luckily, Kevin was practically an evil mastermind, and really good at forging weapons from household items.


Mrs. Vorhees in Friday the 13th



Mrs. Vorhees from the Friday the 13th movies could actually be considered a good mom, depending how you look at it. Yeah, she’s a mass murderer, but only because she wants vengeance for her son Jason.


Other Mother in Coraline



Talk about the grass being greener. When Coraline get sick of her mother’s incessant nagging and busy schedule, she ends up finding comfort in an alternate universe version of her mom called her “Other Mother.” Of course, Other Mother is actually a monster who lures kids to her world by being a perfect mom. Then she steals their souls.


Gladys Leeman in Drop Dead Gorgeous



Gladys Leeman will do anything for her daughter Becky in the 1999 dramedy Drop Dead Gorgeous — even kill her fellow beauty pageant contestants. But aside from being a ruthless killer, I imagine she was also a really awful stage mom.


Zinnia Wormwood in Matilda



Poor Matilda. She’s stuck with The Trunchbull at school and at home, she’s got Zinnia Wormwood for a mother. The self-centered (and generally shady) mom doesn’t let Matilda do anything. Her one redeeming moment is when she gives the kid up for adoption. But that’s only because her and her husband were trying to evade the FBI by moving to Guam, and didn’t really want to take her.


Mrs. Loomis in Scream 2



Like Mrs. Voorhees, Mrs. Loomis could also be seen as a good mother. Well, not really. But no one can say she wasn’t dedicated. Yes, she did leave Billy while he was in high school, but eventually returned to seek revenge on Sid after his death. “Was that a negative, disparaging remark about my Billy?”


Max Conners in Heartbreakers



Heartbreakers is about a mother-daughter con artist duo who marry old men to inherit their money. So, yeah, probably not the best mom to begin with. But when her daughter Page actually falls in love, Max decides to seduce him. Why? To prove no one loves Page but her. Because yeah, that makes sense.


So, even if you’re not totally crazy about your mom, be happy that she’s not just totally crazy. Or, you know, a serial killer. Happy Mother’s Day!


A History of Cinema Awaits in this Supercut of 4th Wall-Breaking Movie Moments

Supercuts celebrating the world of film are pretty commonplace and usually dedicated to some major plot device, trope or cliché, but here’s a wonderfully diverse one that uses a theme we all recognize. Film buff Leigh Singer has made a supercut of more than 50 movies that have used breaking the fourth wall as a key device or as part of a pivotal scene. From the humorous (lots of Mel Brooks, most notably the cavalry charge onto the musical set in Blazing Saddles) to the gutting (Alex the Drooge’s haunting gaze in A Clockwork Orange), Singer’s exploration travels across era and genre. And, of course, Ferris Bueller is there, as is Rob Gordon.

As a result, what we end up with is not just a montage of variations on this device, but an homage to some of the most brilliant and memorable film moments of all time. Gems include the Marshall McLuhan scene from Annie Hall, the conversation/stereotype rattle-off from Do The Right Thing, Charlie Chaplin’s iconic speech from The Great Dictator and, one of the most chilling fourth-wall breakages of all, Anthony Perkins’ sinister smirk from the final scene of Psycho. It’s rather lengthy for a supercut, but well done and a great look at the diversity of what seems like such a simple decision. Watch the whole thing below. 

Breaking the 4th Wall Movie Supercut from Leigh Singer on Vimeo.

Behind ‘Hitchcock’ and Beyond with Director Sacha Gervasi

“I enjoy[ed] playing [Alfred Hitchcock] with this untried director, Sacha Gervasi. He was one of the reasons I wanted to do it; he’d never work[ed] with actors before, and I think that’s all the more [motivation]. He had such confidence in himself. His enthusiasm was palpable.” Praise-laden words courtesy of Anthony Hopkins (via satellite during a press conference last week), the legendary actor’s assessment of the filmmaker speaks volumes.

And he’s not the only one pleased with the experience of making Hitchcock. Indeed, Gervasi is said to have fostered a fun atmosphere for all on set, at least according to actress Toni Collette, who plays Peggy Robertson, trusty assistant to Hopkins’ Hitchcock. “It felt light and free and focused,” said she of the environment.

Known for producing and directing the award-winning documentary Anvil: The Story of Anvil and for writing scripts for The Big Tease and The Terminal, this Fox Searchlight flick, which opens today in limited release and nationwide next month, is Gervasi’s narrative directorial debut.

A love story about one of the most influential filmmakers of the last century, Hitchcock conveys to viewers the bond, sometimes tenuous and sometimes tender, between Hitch and his wife, Alma Reville. Instrumental to both the happiness of the man and the success of the movie Psycho, Reville, portrayed by Helen Mirren, at long last receives the recognition she so sorely deserves.

Gervasi spent some time with us last week discussing this, along with Hopkins’ hijinks, the challenges that accompanied making this movie, and how permanently playing percussion for the band Bush wasn’t ever really in the cards.

So, there’s already a bit of Oscar buzz…
Who the hell knows? My mother’s behind it all.

[Laughs] So, why did this story need to be told?
[Hitchcock is] an iconic filmmaker. He’s a brilliant genius, one of the greatest directors of all time. What people don’t know is how important his wife was. Not just as his marriage partner, but also as someone who worked with him. She worked on the script, on casting, consult[ed] during production and was very involved in the editing process. I felt it was an interesting, unexpected, unusual story. A strange kind of love story. You picture Alfred Hitchcock and don’t imagine him listening to anyone. Well, he listened to one person and it happened to be his wife.

What did it take for you to get on board?
I’m fascinated with stories about creative marriages and creative partnerships. I had to convince them to give me the job, which was a big deal, because there were far more qualified directors in line for the job. But, you know, Tom Pollock and Ivan Reitman, producers of this film, really loved [my documentary film] Anvil, so I was given the job, against the[ir] better judgment. [Laughs] And then I met Tony Hopkins. I was very nervous, because he had to say yes. The first thing he said to me was, "I’ve seen Anvil three times." So, he was on board immediately. Then, once Tony was in, we had to persuade Helen [Mirren], and eventually the movie got made. So, it was very fortuitous, the whole thing.

Any funny stories from on set?
Oh my god. Tony loved to shock people, just like Hitchcock did. He would get in his Hitchcock outfit and ask, "Is someone new coming to the set?" Then, [when] someone new would appear, he would take great delight in tapping them on the shoulder and going, "Good evening." He would make people jump, like, five feet in the air. It was pretty funny.

In the film, were there any ad-libbed or improvised parts?
I think there were a few. For example, the [scene where] Tony is directing Janet Leigh and he goes into this sort of frenzy and then the film burns, you see a wide shot of Hitchcock walking behind the screen in profile. That was an accident. Tony was actually going to get coffee. I’d already called cut, but we were [still] filming and Tony was walking across the set. It ended up in the movie. So, that’s a perfect example of something that was not intended.

Did any of the performances surprise you?
All of them. You never know what’s going to happen until the camera’s running. Tony Hopkins and Helen Mirren didn’t “audition.” None of the actors, frankly. So, you’re always surprised.

What did you find to be the biggest challenge?
We didn’t have much money and we didn’t have much time. We shot it in 35 days for a relatively low budget. The biggest challenge was getting everything we needed to get within the day that we had to get it.

Sounds like a parallel to Psycho.
Yeah, it was roughly the same schedule. It was shot in the same time. It was very interesting.

Did your wife fix your movie for you, too? [Laughs]
Yeah, she told me to do [Hitchcock] in the first place!

I thought you didn’t need convincing!
When I first read [the script], I wasn’t sure. Then she told me the Alfred and Alma story, because she was fascinated with it. So, she was a huge reason why I actually did it, because she thought it was a great story.

Indeed! So, how did you prepare?
I drank a lot of coffee. [Laughs] I did a ton of research. We had Stephen Rebello’s book, numerous biographies, numerous accounts. Even Janet Leigh wrote a book about her experience making Psycho. We read everything to try and acquaint ourselves. So, a lot of it was research, a lot of it was working with my team and trying to create those sets and trying to create the feeling.

Two scenes stand out to me especially: when Alma gives Alfred a talking to and when he’s privately conducting the score to the shower scene outside the theater…
That was a tiny line in the script, but it was really Tony. He’s a classical musician, so it’s really all Hopkins.

What was the most fun scene to shoot?
I would say that was one of the most fun. Going between the audience and him was tremendous fun.

What was the most difficult scene to shoot?
Probably the opening of North by Northwest. We had rain and umbrellas and crane shots and hundreds of extras. As we were shooting, there would be homeless people screaming out, What are you doing? We had street people of downtown L.A. ruining our takes, so it was complicated in that environment to try to make it work.

What was the impetus to bring Gein into Alfred’s present?
We wanted to find a fictional way to get inside Hitch’s mind. I thought it was funny that the most notorious serial killer of all time would be [Hitchcock’s] only friend and his shrink [in the film]. So, there’s a certain irony to it, which I hope the audience embraces. It’s fun, it’s dark, it’s “Hitchcockian.”

With all of this said, what are your thoughts on Hitchcock?
There’s been a lot of debate about Hitchcock [the man]. I think what we’re saying [in this film] is that he wasn’t good or bad. He was both. He’s such a fascinating, rich character. The reason we’re interested is because [his] films are so extraordinary. I hope [Hitchcock] provokes curiosity in Hitchcock. It was great having young people come to the screenings, now going and looking at Hitchcock movies. That’s a great byproduct of what we’ve done that we weren’t really anticipating. Plus, the relationship story. Giving Alma her due. If nothing else, the film is about that. Acknowledging the unacknowledged partner. Singing the song of someone who wasn’t seeking the limelight, but yet who made such a vital and valuable contribution.

You’re from the U.K., you shot in L.A. and now you’re in New York. Stance on NYC?
I love New York. I mean, I used to live here. So, for me, it’s like coming home.

Lastly, you once played drums in the band Bush. What would you be doing today if you weren’t working in film? Might you have been a rock star?
I’d probably be in rehab. [Laughs] I have no idea. I still speak with Gavin [Rossdale]. We’re really good friends. I’ve known him since I was five, so the idea of being his drummer…it was fun for a moment, but I think I had other things in mind. That being said, I loved being in that band. But, I don’t know. It wasn’t really my destiny.

‘Hitchcock’’s Toni Collette on Acting, Accents & Australia

When it comes to accomplished actresses, Toni Collette is as versatile and disarming (in a good way) as they come. From The Sixth Sense and About a Boy, to In Her Shoes and Little Miss Sunshine, the Aussie star can’t be faulted for not exploring enough genres or assuming enough varying roles. Take her show United States of Tara alone and you’ve got several characters right there! Indeed, the 40-year-old mother of two has thus far assembled quite an impressive oeuvre, and she’s just getting started.

In Hitchcock—the comedy-drama about Alfred Hitchcock’s relationship with his indispensable wife Alma Reville, as portrayed during the making of his seminal movie Psycho—she acts alongside the likes of legendary actors Anthony Hopkins and Helen Mirren; the role of Hitchcock played by Hopkins (in full makeup and fat suit) with Mirren as his better half. Collette takes on the role of Peggy Robertson, longtime assistant to the “Master of Suspense,” a discerning and discreet right-hand-woman to the oft-challenging horror honcho of Hollywood. Both entertaining and informative, the 98-minute flick opens in limited release this Friday and nationwide come December.

Last weekend, we were lucky enough to steal some time with Collette to chat about her stance on Hitchcock and Hitchcock, what it was like to reunite with Hopkins, and her hatred for structured dialect learning.

What was it like working with Anthony Hopkins again? You acted together so long ago on The Efficiency Expert.
When I was 17. My first movie! 

What was it like to have that reunion?
It was lovely. We had a very short rehearsal with Sacha [Gervasi, the director] before we started shooting. We arrived and I sat in [Hopkins’] car with him and we reminisced about that [earlier] movie. I was a baby! 

I’m really lucky to have another chance to work with him. He’s a legendary actor, but also a complete sweetheart. I think when I was 17 I was too nervous to really get to know him. On this job I feel like I have. He’s just a wonderful person and such an incredible actor.

Was he goofy at all on set?
Oh yeah. He’s always joking. Tony’s very easy to work with. In no way like Hitchcock, except that he’s good at what he does. 

Any funny stories?
Nothing specific. The set just had an air of fun, a fun vibe. Suddenly, it feels like this big movie. It’s about to come out and people are talking about it in a context that’s kind of beyond me. But, in making it, it was so easy. It felt light and free and focused, but I think Sacha created a very pleasurable set. And, I think that’s smart, because it allows people to feel relaxed and hopefully do good work.

You have a great range of facial expressions and personalities within your work. But in this film you needed to be more restrained and not express everything going on inside. How was that for you? 
That’s very much Peggy. She takes everything in her stride. The fact that you recognize that there’s something underneath is a good thing, because that’s what I wanted it to feel like. She’s almost like the silent partner. He’s making all these seemingly crazy decisions and he’s incredibly moody and she just takes it, moves through it, doesn’t take it on. But you can hopefully see that she’s got her own opinion underneath the obvious. 

Definitely. You’re also accustomed to taking on various voices and accents for your roles. Did you ever, or do you now, have a coach for this?
When I first came to America I worked with a woman for an hour and found it completely distracting; I never worked with anyone again. On About a Boy, I worked with a British dialect coach and I recently worked in London again where the producers wanted me to work with a dialect coach. It was the second day after arriving, I was completely jetlagged. I was basically lying down talking to this poor woman and I just thought, Oh my god. If I have to think about the things that I’m being told to think about, it’s just a complete distraction. I’m more of a fly-by-the-seat-of-my-pants, I-hope-I-get-it-right kind of person. 

On that “free spirit” note, did you prepare at all to become Peggy?
A lot of it was imagined, because there was very little information about her. Not as much as the more famous elements in the movie, in Hitchcock’s life. I watched a couple of interviews with her, read as much as possible, looked at a few photos. She was a very stylish lady, very well put together, so I found it great fun wearing Julie [Weiss]’s costumes. I feel like I had the best costumes in the movie, actually. [Laughs]

So, how did the process play out?
Piece-by-piece. Everything starts with a script. That kind of determines where you leap off from. I loved the script. I found it interesting that this woman, like Alma, Hitchcock’s wife, is incredibly strong and capable and very much an individual. But, she also dedicated her life to somebody else’s work, which I found to be a strange combination. I just loved that she didn’t take any shit from him. That’s what made their relationship so successful and [enduring]. The fact that she’s just real with this guy who’s very intimidating to other people [is great].

Is it more difficult playing the part of a person who existed in the real world, versus a fictitious character?
I think so. There’s a certain amount of responsibility. Having said that, Peggy wasn’t famous like the other characters represented in the movie, so there wasn’t as much pressure. Phew!

What’s your overall take on the film?
It’s a confident film in terms of the filmmaking. In a way it kind of represents Hitchcock himself. His acerbic wit [is] sewn throughout the piece. I love the story. I’m sure this is a common reaction: you think, Oh, it’s a movie about movies. And, in a sense, it is. [But], it’s so much more than that. It’s about his relationship with his incredibly talented, strong, capable wife. And, also, the rest of the women. His relationship with women in general is kind of strange and interesting and funny. 

Absolutely. Unlike a lot of actors working in the film and TV industry, you live neither in New York nor in L.A. You live in Australia. What’s that like?
I’m from Australia, so it feels normal to me. It’s a blessing and a curse that it’s so far away. When I go home, I feel like I’m on another planet. It’s very relaxing and familiar and easy. When I travel, it feel[s] like a work-oriented venture. I have two small kids now, so things have kind of changed. But, we are a bit of a traveling circus. We don’t spend much time at home, but we make the most of it. It’s fun. It’s a great life. It’s a really interesting way to be. I don’t want to do it forever. It’s exhausting. But, I’m really lucky to be working on the quality films I’m working on, especially this year. 

Can you tell me more?
Every single [film] has been a great experience, both personally and professionally. I’m not lying, every single film I’ve done this year has been fantastic. Really satisfying. But, I am looking forward to going home and lying down for a minute. 

What all have you conquered this year?
I did Hitchcock. Then I did a film called The Way, Way Back, which was written by the guys who wrote The Descendants. I got to work with Steve Carell on that. It was set on the beach in Massachusetts, so I would literally walk out the front door and ride my bike to the end of the street to go to work. It was lovely. I have a little part in a Nicole Holofcener film. Again, great story, great actors, a very Holofcener vibe, which I dug. I recently completed a film called A Long Way Down, which is another adaptation of a Nick Hornby novel. I love, love, love the story. Initially I was nervous to play my character; I thought I’d been miscast. I thought she was very different from me and I didn’t know how to make her real, but I loved playing that character. The story’s really beautiful. So, yeah, it’s been bloody brilliant.