Our fearless – and quite possibly senseless – movie janitor is watching every movie on the IMDb Bottom 100 list. Join us now for another installment of Unwatchable.

First let me tell you a little about the movie I won’t be telling you about today. As any loyal Unwatchable reader knows, occasionally the IMDb Bottom 100 list presents us with a stumper. As I consulted the list in preparation for today’s entry, the title at #37 struck me as vaguely familiar: Hababam sinifi 3,5. I checked the archives and sure enough, the originally scheduled title for Unwatchable #59 was Hababam sinifi askerde, an earlier installment in the Hababam sinifi series of Turkish comedies. Apparently there’s a hardcore band of Hababam sinifi haters in Turkey…which doesn’t really help my cause since these movies aren’t available in the U.S. However, I was able to find a few YouTube clips, and I like to think this one captures the essence of whatever it is that makes these movies so hateable:

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The director Howard Zieff died this past weekend of complications of Parkinson's disease, at the age of 81. Odds are that the name doesn't mean as much to you as it might. Zieff made his best pictures in the 1970s, but his name simply wasn't one of those that people associated with the glories of that movie era. And he had a special problem, so far as his lingering reputation goes, in that his biggest hits tended to be less distinctive than some of his flops, so that to the degree that he had an image as a director, it may have been as something of a hack. But Zieff, like Michael Ritchie (Smile) and the screenwriter W. D. Richter (who wrote Zieff's first movie, the 1973 Slither), other eccentric talents who left their mark on that period without winning much acclaim for it, he was a smart, funny entertainer with his own peculiar comic sense and a feel for everyday American insanity. He first made his presence felt in the culture with his work in advertising, both as a director of TV commercials and his work in print ads. Zieff was one of the first directors to develop a name for himself as a promising talent based on his ad work: in 1967, when he was 40 years old and still half a dozen years away from his first movie job, he was the subject of a profile in Time magazine, which noted that he had made 200 commercials in six years and called him "the leading practitioner of what the trade calls the indirect sell." (Translation: his ads inspired public affection for the products they touted not because they made such a great case for the products themselves but because the ads were so entertaining.) More recently, Zieff's ad photography was the subject of a 2002 show at a West Coast gallery.

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Our fearless – and quite possibly senseless – movie janitor is watching every movie on the IMDb Bottom 100 list. Join us now for another installment of Unwatchable.

I’m a peaceable man by nature, and I know everyone has to make a living somehow, but I can’t help it: I really wish something bad would happen to everyone involved in making Baby Geniuses. I’m not talking about something life-threatening or even physically debilitating – I’m thinking more in terms of a flat tire, a tax audit or perhaps a visible soiling of pants at a high-profile public event. Actually, that last item probably did happen to one or two of the stars of Baby Geniuses, given that they were actually babies. I suppose I can’t blame these tykes for their roles in the movie, so instead, let us hope their parents had the courtesy to pay for the inevitable psychiatric counseling these toddlers required.

Baby Geniuses is, as you might have surmised, a talking baby movie. At the time of its release in 1999, the Look Who’s Talking series had run its course and America was once again hungering for verbose infants. Apparently.

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As you may have heard unless you've just gotten back from an alternate dimension with no public relations industry, The Dark Knight opens this weekend, and even our resident skeptic Scott Von Doviak is hailing Heath Ledger's performance as the Joker as one of the pinnacles of big-screen malevolance.  Batman is the perfect illustration of the principle that a hero is only as good as his villains; the Clown Prince of Crime is the outstanding member of an unforgettable rogue's gallery that throws the lonely heroism of Bruce Wayne into sharp relief by illustrating the other facets of his personality and demonstrating how terrible he might have been had he not taken the path of righteousness.  Indeed, there are any number of genres, from true crime to film noir to serial thrillers to even Shakespearean tragedy, that prove that a story is only as strong as its most detestable character.  Crime, as the man once said, is only a left-handed form of human endeavor, and for every enigmatic nihilist like the Joker who simply wants to watch the world burn, there's a figure whose vileness and evil are the result of a good man gone just a little bit bad.  If your showing of The Dark Knight is sold out, here's five movies featuring some of our favorite big-screen villains to tide you over until you get to hear Ledger's deadly cackle for yourself.

THE STEPFATHER (1987)

These days, Terry O'Quinn is best known for his portrayal of John Locke, the mysteriously healed castaway from Lost  who can be both hero and villain as he attempts to forge a mystical connection with the island.  But 20 years ago, when the veteran stage actor first came to the attention of the moviegoing public, it was in this smart little thriller about a man so obsessed with having the perfect family that he was willing to kill to get it.  His face an affable blank, O'Quinn goes about his father-knows-best routine with barely a harsh word for anything, until something goes wrong.  That's when the devil inside him comes up, and he moves quickly from tearing up his tool room to butchering his whole family.  O'Quinn's tightly controlled performance here is what makes the movie, and his quiet intensity is what makes it so devastatingly effective when he temporarily forgets the careful fiction he's made of his life and asks, with genuine confusion, "Who am I here?" -- before remembering, and delivering the news to his new wife in an especially brutal way.

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Like his fellow New Yorker and paisan Joe Spinell, Vincent Schiavelli was a tremendous character actor with a distinctive appearance and a wide range who died far too young. Before succumbing to cancer in 2005 — complicated by a lifelong struggle with Marfan syndrome, which contributed to his distinctive appearance — Schiavelli was an incredibly prolific character actor who appeared in over a hundred films and nearly as many television shows over a thirty-year career. Easily remembered for his hangdog expressions, drooping eyes, frazzled hair and looming height, Schiavelli was also capable of playing a wide gamut of roles; though he was usually cast in comedies, he was equally adept with drama, action and even voice-over work, as his frequent appearance in video games and animation proved. Schiavelli was also renowned as a gourmet cook, writing three books on Italian cuisine and a number of articles in food magazines, all of which contributed to his winning a prestigious James Beard award in 2001. In his latter years, Schiavelli moved to Sicily, where he wrote, produced, directed and starred in a number of plays for the local theatre, and endeared himself to the locals in his father's homeland by speaking the native dialect to perfection.

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The popular line on Nicolas Roeg's directing career is that he cranked out a string of classics in the 1970s before sliding into irrelevance during the 1980s. I can't argue with this assessment of his 70s output, but the more of his '80s work I see the more interesting and undervalued I find it to be. Consider his 1988 film Track 29, long out of print on video and as yet unreleased on DVD, which I finally caught up with when someone helpfully posted it, in its entirety, on YouTube. The film stars Roeg's then-wife Theresa Russell, Gary Oldman and Christopher Lloyd, and was penned by the great Dennis Potter (Pennies From Heaven, The Singing Detective). It's a strange, uncategorizable work that I found fascinating, a film that manages to feel completely like a Roeg film AND a Potter film. I'm posting the first segment here — click the link for the rest, but only when you’ve got a couple of hours free to watch them all. (Hat tip: Andrew Bemis.)— Paul Clark