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By Matt Singer

IFC News

[Photo: “Exiled,” Magnolia Pictures, 2007]

Watching “Exiled,” you get the sense that director Johnnie To believes that old expression about a picture being worth a thousand words. The film is about a group of old friends, gangsters who grew apart and who are now thrown back together by chance. To hints at what drove the five men in separate directions, but he lets the audience infer most of the backstory from the juxtaposition of two photos: one new and one from years earlier, when the men were still boys.

To, like a lot of action directors, doesn’t have much use for words in general; the most important exchanges in “Exiled,” as in most of his pictures, are of bullets, rather than dialogue. Get ready for shoot-outs, and you better like them absurd-slash-borderline ridiculous. The film is filled from start-to-finish with massive gunfights that rival anything in the bombastic To’s oeuvre. Every couple minutes another sequence begins and men, bullets, exaggerated puffs of blood, and even large doors fly and spin through the air. Whatever else the title may refer to, it also reflects the fact that real-world physics have no place in this film.

Complexity and style are important to action sequences, and “Exiled” has enough of both for ten films. But these scenes also require clarity to bring the whole thing together, something To often misses. Some of the gunfights, like a beautiful (if men desperately killing one another can be described as “beautiful”) sequence in an underground clinic, are lit harshly to create dark shadows and intense atmosphere. But they’re so darn murky, and the exchanges so full of combatants wearing dark suits, that it can be very difficult to tell moment-to-moment who is shooting, who is getting shot, and why. One minute you gasp at an intense blast of coolness (say, the way To stages that clinic scene in a room full of curtains that can be thrust about like bullfighters’ capes) the next you’re scratching your head trying to figure out which character just fell out a window.

Regardless, those scenes are breathtakingly stylish and they add to the overall mood, which is dark, foreboding, and incredibly manly. Heavily inspired by the Western, and by Leone in particular (Strong silent types! Triangular standoffs! Grizzled men smoking cigars!), “Exiled” extends the gangsters-as-frontier outlaws further. It’s set on the island of Macao in 1998 as a change of leadership is about to take place and our protagonists and their “old ways” are about to be made obsolete: think Peckinpah’s “Ride the High Country.” Lawlessness rules: the only policeman in sight is a bumbling oaf who plays the comic relief. Instead the gangsters live by their own code of ethics: one that dictates that you can try to kill a man one moment, and then help him refurbish his apartment the next.

That hilarious sequence comes early in the film and establishes the dynamic between the friends: Blaze (Anthony Wong) and his partner have come to kill Wo (Nick Cheung); To (Francis Ng) and his have come to protect him. After a stalemate, the five agree to table their differences temporarily and work together to get some money for Wo’s wife and infant. It’s the appearance of Wo’s baby, in fact, that stops the first bout of gunplay. The men are killers, but not the cold-blooded variety.

Though the action is a bit murkier than, say, To’s “Breaking News” (2004), the characters are richer and the story more satisfying than his recent (and arguably over-praised) “Election and “Triad Election.” In the end, in the midst of a showdown to end all showdowns, there is one more photograph, and this one speaks even more loudly than the others. It will linger in your memory long after the “cool” parts with the guns have faded.

“Exiled” opens in New York on August 31st (official site).



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.


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…


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.


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 ’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?”


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).



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.


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