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Matthew Lillard

Matthew Lillard is an actor, born 1970.

Lillard's early roles ran on pure kinetic energy. John Waters cast him as the horror-obsessed son in Serial Mom, Hackers made him Cereal Killer, and then Scream gave him Stu Macher, the loudest and neediest guy at the party. Hardly anyone else could have played it, because he performs a horror movie character as though he has seen every horror movie, and it made him a fixture of the genre for the rest of his working life.

The next decade sorted into two piles. There were the broad comedies, She's All That and Without a Paddle, and there was Shaggy. He took the live-action Scooby-Doo in 2002 and turned an impression into an inheritance, voicing the character in cartoons and direct-to-video features ever since, which is a stranger and far more permanent legacy than any of his live-action work.

Then came a long quiet stretch, and then Alexander Payne cast him in The Descendants as the man on the other end of the plot, and Lillard played him small, sad and utterly ordinary. It is the best thing on his CV. He is now in a third act as a horror headliner, carrying the Five Nights at Freddy's films and returning to Scream, and he is one of the few actors of his generation who seems to genuinely enjoy the fanbase he ended up with.

Movies (83)

TV (21)

Where to start with Matthew Lillard

Scream is compulsory and still the correct starting point. Stu Macher is a comic performance inside a thriller, pitched at exactly the volume that makes the film funny without making it safe.

Follow it with The Descendants, because the two together explain him. Payne asks him to be quiet, dull and caught, and Lillard delivers the least vain work of his career. After that, pick a lane. Hackers and SLC Punk are the 1990s energy at full blast, the second closer to a real role than its reputation suggests. Scooby-Doo is better than you remember and his Shaggy is the reason why. Five Nights at Freddy's is the modern hit, a stiff film that comes alive whenever he is on screen. The Life of Chuck is the recent small one, and it shows he never lost the quiet register.

Genres Matthew Lillard works in