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Critic wrangle: “Frozen River.”

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08012008_frozenriver.jpgI really didn’t care for Courtney Hunt’s feature debut “Frozen River” when I caught it at Sundance, but others did, to the point where it won the Grand Jury Prize, was picked up by Sony Pictures Classics, opened New Directors/New Films and now, in theatrical release, is receiving mostly praise, while star Melissa Leo’s name is being idly tossed around by the early Oscar-watching crowd. Her nervy, ego-free performance is without a doubt the main reason to watch the film.

Amongst the praise: Owen Gleiberman at Entertainment Weekly observes that “as written and directed by Courtney Hunt, the movie is no somber, medicinal downer. It takes the form of a thriller you can believe in,” while Stephen Holden at the New York Times finds that “Ms. Hunt’s eye for detail has the precision of a short story writer’s. She misses nothing.” Andrew Sarris at the New York Observer claims the film “plays out as one of the strongest feminist statements I have ever seen onscreen,” and that “Ms. Leo and [co-star Misty] Upham somehow project an aura of indestructibility around Ray and Lila that should prove thematically and spiritually invigorating for adult audiences with a feeling for the heroism of everyday life.”

More measured in his acclaim is Andrew O’Hehir at Salon, who writes that “‘Frozen River’ isn’t cinematically ambitious or formally adventurous, but it’s built around powerful and nuanced performances by Leo, Upham and Charlie McDermott (as Ray’s teenage son, uncomfortably poised at the edge of manhood).” “What lends it distinction, if only mildly,” adds Scott Tobias at the Onion AV Club, “are the engrossing particulars of the setting, with its uncommon glimpse into tribal law and reservation life, and Leo’s performance, which brings overdue attention to a career spent laboring under the radar.” Ella Taylor at the LA Weekly allows that “the movie careens uncertainly between gritty realism, sudden bursts of melodrama and inspiration,” but concludes that “what sticks in memory isn’t Ray and Lila’s 11th-hour redemption but the unnerving lack of basic safety that comes with living on the financial edge.”

Not won over: Slant‘s Ed Gonzalez, who writes “Call it Sundanceploitation, only this one is a more shameless brew–less intuitive, more manipulative and amateurishly performed, and so screechily written you might be excused for thinking Paul Haggis was behind it.” And the New York Press’ Armond White suggests that “from both Ray and Lila’s overburdened motherhood and oppressed femininity to the utterly joyless environment they share, Frozen River says little about the realities of American poverty and human subsistence. It merely proves how self-righteous middle-class filmmakers can be about the underclass.”

[Photo: “Frozen River,” Sony Pictures Classics, 2008]


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.