This browser is supported only in Windows 10 and above.

DID YOU READ

Much ado about not that much.

Posted by on

Aimee Mullins and Matthew Barney.A bit of a slow news day today, which gives us the opportunity to look at two rather lengthy and literary musings on sets of films one normally wouldn’t bother with.

Devin McKinney has got this week’s big essay at the Village Voice, and he writes about how "Flightplan" is the latest narrative to make use of the reoccurring urban legend of the Vanishing Lady, in which two family members/loved ones are away from home, one vanishes, and everyone denies being aware of the missing person’s existence when the other searches for him/her.

"Flightplan"’s renewal of the legend may resonate with humanity’s recent losses to terror attack and natural disaster—just as the story’s popularity throughout the 1920s may have been a specter of the Great War and the influenza epidemic of 1918. These too have been years of wholesale loss and sudden, inexplicable grief for millions.

"There must be more than that . . . there must be an explanation." In popular fiction, always; in life, almost never. It may be that, in its eternal return, the Vanishing Lady is a myth not of resurrection but of loss repeated through infinity. It’s true that the Lady, whatever shape or sex she assumes, is always found at the end of the story. It’s also true that she is always, come the next telling, lost again.

Over at Slate, Aidan Wasley makes his case for the "Star Wars" trilogies adding up to "the greatest postmodern art film ever." Check this:

"Star Wars," at its secret, spiky intellectual heart, has more in common with films like Peter Greenaway‘s "Prospero’s Books" or even Matthew Barney‘s "The Cremaster Cycle" than with the countless cartoon blockbusters it spawned. Greenaway and Barney take the construction of their own work as a principal artistic subject, and Lucas does, too. "This poem is concerned with language on a very plain level," one of John Ashbery’s works begins. "Star Wars," we might say, is concerned with plot on a very plain level. Everything about the films, from the opening text crawls to the out-of-order production of the two trilogies, foregrounds the question of plot. As an audience, we grapple with not just the intricate clockwork of a complex and interwoven narrative, but, in postmodern fashion, with the fundamental mechanics of storytelling itself.

We’re not convinced, but it’s kind of a great read.

Over at the LA Times, Robert W. Welkos reports on a ridiculous tiff going on between two indies with the same title. Sean Baker and Shih-Ching Tsou‘s "Take Out" is a gritty drama about an illegal Chinese immigrant trying to pay off his debts working as a restaurant delivery boy — it’s done well in the festivals and managed to get picked up by CAVU Pictures, a small distributor. Seth Landau‘s "Take Out" is a comedy about a man trying to rid the nation of chain restaurants. And thus begins the battle of the $3000 and the $13,000 film, which, one would imagine, is rather like two starving people having a food fight. (No) money quote:

And while Landau’s backers complain about NYU film grads with "high priced" lawyers writing cease-and-desist letters, [CAVU’s Michael] Sergio and [Isil] Bagdadi point out that the lawyer who wrote the letter in question is Stephen Baker of the law firm Baker and Rannells, P.A., who also happens to be the co-director’s dad.

And over at the New York Times, Sharon Waxman talks to Peter Lalonde, the producer of "Left Behind: World at War,"  which, as the Washington Post reported two weeks ago, was released by Sony Pictures Entertainment exclusively in churches across the country. Waxman’s angle is that Sony, who attached a $1.2 million marketing budget to the film, has been uncomfortable and thus hesitant to push a Christian film, a theory that so enrages Movie City NewsDavid Poland that he’s penned a furious screed in response.


+ Fright Plan
(Village Voice)
+ Star Wars: Episodes I-VI (Slate)
+ ‘Take Out’ for party of two (LA Times)
+ Sony Effort to Reach Christians Is Disputed (NY Times)
+ What Is The Problem??? (The Hot Blog)

IFC_FOD_TV_long_haired_businessmen_table

Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

Posted by on

via GIPHY

We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

SAE_102_tout_2

Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

Posted by on
GIFs via Giphy

Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

via GIPHY

The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

via GIPHY

They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

via GIPHY

Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

via GIPHY

Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

IFC_ComedyCrib_ThePlaceWeLive_SeriesImage_web

SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

Posted by on
GIFs via Giphy

Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

via GIPHY

IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

via GIPHY

IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.