Robby Müller, the famed Dutch cinematographer responsible for shooting some of the greatest films of modern times — earning him the nickname “Master of Light” for his dazzling compositions of color and natural light — has passed away in Amsterdam just three months after celebrating his 78th birthday.

Müller’s family confirmed his death to the Dutch publication De Volksrant, stating that he had been seriously ill for a long time. As a cinematographer, Müller frequently worked with acclaimed directors like Wim Wenders, Jim Jarmusch, and Lars von Trier, applying his unique visual style to some of their best films.

The French Connection, which remains one of the benchmarks in the history of cinema, particularly instrumental in ushering in a new wave of motion pictures during the latter quarter of the 20th Century in which real, gritty, uncensored, and violent police crime drama narratives were portrayed realistically, uncensored, and cinematically expertly, celebrates its 45th anniversary today.

Originally released on October 9th, 1971 in the United States, The French Connection is based on a true story about a French shipping magnate who plans to smuggle over $30 million in heroin to America to make a deal with some New York underworld gangsters, only to have it thwarted by a ragged yet alpha duo of unconventional and extremely unorthodox cops.

The Exorcist, which remains one of the most powerful, galvanizing, controversial, unsettling, and downright chilling films of all time, celebrates its 40th anniversary today.

Directed by William Friedkin (fresh off a cachet of Academy Awards given to his prior film, The French Connection, including Best Director) and adapted by William Peter Blatty from his own novel, which had been released a few years prior and was a bestseller, The Exorcist remains so many things which elevate it from what on paper sort of reads like a hackneyed Z-budget William Castle/HG Lewis dime store narrative: A young girl gets possessed by a demon, and a priest is called to administer an exorcism, but everyone gets more than they bargained for in the process.

Hello Geeks and Ghouls, Famous Monster here. Well, it’s finally October and you know what that means? Breast Cancer Awareness 5Ks? Good guess. Pumpkin Spice Lattes? Delicious, but no. Halloween? YES. Horror movies? DOUBLE YES!

Welcome to 31 Days of Horror, where I’ll cover at least two noteworthy horror films a day for the entirety of the month. That’s 31 Days of Horror and 62+ scary movies perfect for a cold, dark October night. Be sure to visit Geeks of Doom every day this month for a double-shot of chills and thrills!

“What an excellent day for an exorcism!” Today’s one-two punch of demonic terror features William Friedkin‘s 1973 classic, The Exorcist, and Richard Donner‘s 1976 film, The Omen. The power of Christ compels you… to read!

Killer Joe
Directed by William Friedkin
Written by Tracy Letts
Starring Matthew McConaughey, Emile Hirsch, Juno Temple, Gina Gershon, Thomas Haden Church, Marc Macaulay
LD Entertainment
Rated NC-17 | 102 minutes
Release Date: July 27, 2012

Directed by William Friedkin (The Exorcist, The French Connection), Killer Joe stars Matthew McConaughey as a charming, soft-spoken, Dallas Police Detective who moonlights as a contract killer.

Friedkin’s film, which is rated NC-17 for “graphic disturbing content involving violence, sexuality, and a scene of brutality,” will no doubt shock some people with its twisted, unrestrained look at dysfunctional, desperate rednecks in the American South. It’s certainly offensive, but gloriously so.

22-year-old Chris (Emile Hirsch) finds himself in debt to drug lord Digger Soames (Marc Macaulay) after his own mother steals the cocaine he was given to sell. Chris, who is as Texas white trash as they come, comes up with the harebrained scheme to hire a hitman to kill his mother, whose $50,000 life insurance policy could easily cover his debts. The problem is, Chris’s little sister Dottie (Juno Temple) is the beneficiary, and she’s a few egg noodles short of a tuna casserole, if you know what I’m saying.