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NYFF: “Margot at the Wedding.”

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"I think they resent us because we're... I don't know what we are."
We’ll give you this: Noah Baumbach is a masterful writer of cringingly sad-funny dialogue, and quite possibly an astute chronicler of a certain segment of the neurotic sorta-intelligentsia. But we hate his characters. We hate them so much that halfway through "Margot at the Wedding" we decided that the only way we could preserve any positive feelings toward the film would be if in its final act an errant UFO crashed into the seaside house in which most of the characters reside, killing them all in a giant ball of extraterrestrial flame. This did not happen, perhaps because the money went toward casting instead.

And fine casting it is: Nicole Kidman as the porcelain Margot, a writer of New Yorker short stories that, despite her insistence otherwise, cannibalize details from the lives of her family members; Jennifer Jason Leigh as her scattered sister Pauline, who invites Margot up to her wedding in their childhood home as a kind of self-destructive gesture; Jack Black as Malcolm, Pauline’s well-meaning ne’er-do-well fiancé; Zane Pais as Claude, Margot’s overprotected son. Margot and company seem to dwell in the same realm as the characters of "The Squid and the Whale" (and, for that matter, "Kicking and Screaming") but don’t have the excuses of being directly inspired by the director’s home life or of being young and foolish. They are instead mainly extremely imperfect adults (as are many of us) who wave their disorders and their childhood traumas like emblems of passive-aggressive war (as most of us, we’d hope, avoid). Margot, whose own marriage is falling apart, is instantly critical of Malcolm, who succumbs to self-loathing as Pauline is pulled over to her sister’s point of view, while between Pauline and Margot are enough layers of history, love, mistrust, resentment and hate to warrant an archaeological dig. But for every scene with the right amount of bite (like the one in which Pauline goads Margot into showing off her tree-climbing skills) there are dozens that are just unpleasant, of sniping over dinners, at public readings, over phone calls ("You make me feel like shit — I hate myself when I’m with you" Margot tells her husband when he arrives to attempt to salvage things). At times the film, which is shot unflashily with lots of natural lighting, seems like Baumbach doing Woody Allen doing Ingmar Bergman. Well, maybe it’s consistently funnier than that, but it’s also reliant on the audience feeling some kind of inherent connection, if not sympathy, for its characters that we find incomprehensible, or at least as unreasonable as a disorderly spaceship.

"Margot at the Wedding" screened October 7 and 8th, and will open November 16 in limited release from Paramount Vantage.

+ "Margot at the Wedding" (FilmLinc)
+ "Margot at the Wedding" (Paramount Vantage)


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.