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Cannes hangover.

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Shake, barley, shake!

At Salon, Andrew O’Hehir churns out what’s totally our favorite Cannes wrap-up.

Perhaps the only thing more startling than Loach‘s Palme d’Or was the list of films that went totally unmentioned, either during the Palmarès or the subsequent press conference. The jury members had plenty of opportunity to discuss favorite films they couldn’t quite find awards for; we heard about how much Tim Roth loved Chinese director Lou Ye‘s "Summer Palace," and how much Samuel L. Jackson was affected by Giacomo Rizzo‘s performance as a cynical loan shark in Paolo Sorrentino‘s "The Family Friend." Everybody waxed eloquent about Portuguese director Pedro Costa‘s "Colossal Youth," a docudrama set amid the African immigrant population of Lisbon.

But nobody brought up Israel Adrián Caetano‘s political thriller
"Buenos Aires 1977" or Guillermo del Toro‘s fairytale of fascist Spain,
"Pan’s Labyrinth," even though those, along with "Volver," were
probably the most buzzed-over pictures among the press corps. If the
atmosphere at the press conference wasn’t exactly hostile — after all,
this was a roomful of entertainment reporters facing a gaggle of
celebrities — it possessed some other, less definite, quality.
Mystification, maybe. It was as if the questions we really wanted to
ask Wong, Roth, Jackson, Leconte, Suleiman, Monica Bellucci and company
were: Why have you ignored our expert advice? Or: How dare you remind
us that all our hard-earned gossip and punditry don’t mean anything?

The Village Voice has a post-Cannes package that includes J. Hoberman summing up "Marie Antoinette" and others and then covers the prizes; Mark Peranson catching up with a "bruised but not beaten Richard Kelly" and discussing the edits he’ll have to make to "Southland Tales" (and either borrowing from Mike D’Angelo or coming up independently with the headline "Goodbye, ‘Southland,’ Goodbye," and aren’t we all just so fucking clever?); and Peranson also chatting with Richard Linklater about his (wanly received) Cannes double punch.

Meanwhile, in British tabloid The Sun, columnist Harry MacAdam has called "The Wind That Shakes The Barley" the "most pro-IRA film ever," with a plot "designed to drag the reputation of our nation through the mud." At BBC News, Loach responds:

"Nonsense," he told BBC Breakfast. "We could have shown things that were much worse than are actually in the film."

He also said accusations that his film could be seen as a recruiting tract for the Irish Republican Army were "a cheap shot" and "barely worth answering".

At the Guardian, Stephen Moss ponders the possible meanings of the director’s triumphant clenched fist when accepting the Palme d’Or, while at the Independent, Cahal Milmo reconsiders "Cinema’s own Red Ken."

And at his blog, Anthony Kaufman puts his Cannes viewing in order (that would be best to worst).

+ Beyond the Multiplex: Cannes (Salon)
+ Before the Revolution (Village Voice)
+ Golden Loach (Village Voice)
+ Goodbye Southland, Goodbye (Village Voice)
+ Double Vision (Village Voice)
+ Loach rebuts ‘anti-British’ claim (BBC)
+ What’s in a clenched fist? (Guardian)
+ Ken Loach: Cinema’s own Red Ken (Independent)
+ Cannes 2006: From Best to Worst (Anthony Kaufman’s blog)


Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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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.


Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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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:


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.


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!


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.


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.



Reminders that the ’90s were a thing

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

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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.”


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. 


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.