We didn’t think it was possible, but the insanely dateable John Krasinski is not looking so hot these days. Due to an upcoming role in the Sam Mendes-directed Farlanders, John is sporting a nasty beard that resembles something one of the Geico cavemen would wear. And while we’d never judge an actor for tossing out their razors for months for the sake of their craft, this terrible beard inspired us to take a look back at the most cringeworthy facial hair in cinematic history. From one actor’s frizzy salt-and-pepper rat's nest to one mustache’s journey inside another man’s taint, our top five lie after the jump:

Though most Napoleon Dynamite obsessives instinctively recall that Napoleon envied Pedro's ability to quickly grow a mustache, we were far more grossed out by Kip Dynamite's stringy gelled strip. As for Daniel Day Lewis' portrayal of Bill the Butcher in Gangs Of New York, his Dali 'stache served to heighten the character's intimidation factor. And of course, there was poor Tom Hanks, whose Castaway role forced him to grow out a tangled mess of curls covering his entire mug. Though really, we feel sorrier for wife Rita Wilson. Shudder.

Insisting for months that he would only appear as Borat in public and during interviews, jet-black puffy 'stache and all, Sacha Baron Cohen claims he "woke up one morning and was quite hung over, and I accidentally shaved my mustache off.". But topping our list of the most horrendous facial hair grown for a movie role is the most tragic tale of all. After spending months growing out a woolly, scraggly beard for a role in Darren Aronofsky's sci-fi bomb The Fountain, Brad Pitt abruptly quit the picture and started work on another bomb, Troy. Rumors that Brad just couldn't jibe with Aronofsky's script abounded, but some suspected he just couldn't stand sporting that greasy uncomfortable mop on his face for so long.

• A FEW OF THE 'OFFICE' CAST AT THE NBC UPFRONTS [ONTD]

The superstar actor began demanding extensive script revisions during conferences at his house in the Hollywood hills. The studio was asking for its own rewrites as well. In mid-2002, after endless script wrangling, Village Roadshow announced that it was withdrawing its support. Everyone on the project was immediately laid off. Weeks passed. Eventually another production house, New Regency, stepped in, and set construction recommenced down under. "We had cleared every hurdle you can imagine," Watson says. "There was a sense that now, finally, we were going to make this movie. The momentum was there."

Then, just seven weeks before the first day of shooting, Pitt called Aronofsky and told him he was pulling out. "After working together for two and a half years, Brad lost trust in me and faith in the project," Aronofsky admits. "He told me he felt like he was breaking up with a girl."

After that presumably heart-wrenching conversation, Pitt quickly attached himself to Troy and jetted off with director Wolfgang Peterson. But to his credit, Aronofsky handled the loss of Pitt's capricious affections with a delicacy not employed by another of the actor's suddenly jilted partners, refusing to cooperate with opportunistic tabloids seeking to exploit his pain in cover stories blaring headlines like DARREN SPEAKS; WHY BRAD LEFT ME FOR WOLFIE.

• The Outsider [Wired]