DID YOU READ

More random crap.

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"...a nauseating orgy of in-group solipsism..."Sorry, we’re trying to finish many things before heading off to stand outside the Gotham Awards and probably not get let in (more on that tomorrow).

The day after a big fight always leads to some introspection and soul-searching (and heavy drinking, which leads to surliness and more fighting…but this isn’t about us), and so, after yesterday’s Patrick Goldstein snarliness, a shocker hovered over raptly by tens of people, Movie City NewsDavid Poland reconsiders his place in the world and wonders what this whole film coverage thing is all about:

I’m not just pointing fingers. In fact, today, I point the finger or responsibility squarely at myself…

I must be less reactive.

I must learn to shut up more often.

I must avoid thinking that "first" is always best.

I must manage my ego, both in keeping it down and letting it loose.

At the LA Times‘s "The Envelope," more measured responses from Sasha Stone, Jeffrey Wells, Andy Scott and Russ Colombo.

At the New York Press, Armond White is angry at his fellow critics again (our favorite part is when he describes "The Squid and the Whale" as "primarily a nauseating orgy of in-group solipsism.") but for some reason, on him, it’s charming.

Via AP, someone stole Gregory Peck‘s Hollywood Walk of Fame star (cut it right out of the sidewalk). Interesting choice, that…we would have gone for Robert Mitchum, probably, given the opportunity and a cement saw, though who are we to be picky?

If you’re a director, you should always pretend you’re above your reviews, whatever they may be and however voraciously you may shred the rest of the paper and your SO in order to get to them quickly in the quiet of your own home. Never have we believed this more than when we read "The Libertine" director Laurence Dunmore‘s "Right of Reply" to his critics, in verse, in the Guardian.

Allen Barra at Salon takes a lengthy and literary look at the comeback of "The Warriors."

Carol Felsenthal has a long profile of Roger Ebert at Chicago Magazine. Excerpt from his wild, dessert-hurling days of youth:

The drinking did not seem to impair Ebert’s writing. He was an alcoholic when he won the Pulitzer Prize in 1975, but he never missed a deadline and was never late for an appointment. Still, he was beginning to recognize that it was a dead end, says William Nack, Ebert’s friend since college. Legend had it that one night, home from O’Rourke’s, he threw his bowl of ice cream against the wall. “It was taking over my life,” Ebert recalls today.

David Winner slips some anecdotes about Tobias Schneebaum, the subject of the 2000 doc "Keep the River on Your Right," into his Village Voice essay.

And at the LA Times, Rachel Abramowitz and John Horn write about the uncharacteristic lack of pre-publicity for Steven Spielberg‘s "Munich":

"He wants everybody not to have preconceptions, to see the movie and make up their own minds," said Marvin Levy, the director’s personal publicist. Levy said that neither Spielberg nor co-screenwriter Tony Kushner ("Angels in America") nor key members of the creative team plan to speak publicly about the project or participate in the usual Oscar season screenings and filmmaker conversations.

Maybe because they’re all too busy frantically trying to finish the film and skate it into theaters before the end of year awards cut-off date? Or maybe Spielberg’s just leery after what happened during the publicity blitz for his last film?


+ November 30, 2005
(The Hot Button)
+ Bloggers respond (LA Times)
+ SMUGNESS (NY Press)
+ Gregory Peck’s Hollywood Star Is Stolen (AP)
+ Right of reply: The Libertine (Guardian)
+ "The Warriors" fights on (Salon)
+ A Life in Movies (Chicago Magazine)
+ The Boys on the Side (Village Voice)
+ For Spielberg, mum’s the word still on ‘Munich’ (LA Times)

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.