Chaos reigns! If your head hasn’t been in the sand, then you probably have read about director Lars von Trier’s latest controversy at the Cannes Film Festival. His new film, MELANCHOLIA, premiered there and—surprise! surprise!—polarized audiences, much as his previous picture, ANTICHRIST, did back in 2009. Here’s Michael Gingold’s review.

With SCREAM 4 on its way to theaters April 15, the time is right to look back at one of screenwriter Kevin Williamson’s earlier projects, THE FACULTY. Aliens have invaded Earth and taken over the teachers at Herrington High School. Once these extraterrestrials have infected the entire student body, the whole world is next. With Williamson writing and Robert Rodriguez (FROM DUSK TILL DAWN, PLANET TERROR) in the director’s chair, this 1998 sci-fi thriller easily became an enjoyable rollercoaster ride.

Fango editorial chief Chris Alexander makes a case for Darren Aronofsky’s THE WRESTLER being a horror film (see Last Rites, Fango #299), but it’s a somewhat easier task for me to give that same distinction to Martin Scorsese’s equally brilliant 1976 classic TAXI DRIVER. The movie begins a special two-week engagement (with a gorgeous new 35mm print, digitally restored) at New York City’s Film Forum (209 West Houston; [212] 727-8110) this Friday and runs through March 31.

The top coverline on last year’s reissue of Allan Brown’s making-of tale—“How Not to Make a Cult Classic”—is misleading for two reasons. First, it implies that there is a right way to make a cult classic. This is a status that is earned usually when a film fails to connect with the general public upon release but eventually garners a loyal following. THE WICKER MAN certainly fits that bill. It was barely released in 1973 and nearly buried by its owners but, as screenwriter Anthony Shaffer notes, it refuses to die.