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The kind of film about race the Oscars prefer.

The kind of film about race the Oscars prefer. (photo)

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If Clint Eastwood hadn’t directed “Invictus,” it’s safe to say no one would care overmuch about it. At age 79, Eastwood’s pulled himself out of a decade-long slump of indifferent work starting with 2003’s (in my opinion overwrought and terrible) “Mystic River.” He’s brought himself to the forefront again with a string of surprise commercial and critical hits, culminating in “Gran Torino,” one of the rarest (and therefore bravest) attempts at acknowledging lingering racial animosity in the US.

There was a time when you could make a studio movie without having to pretend there aren’t still race-based divides, stereotypes and hardcore hatreds across the country. But that stopped sometime in the ’80s, seemingly right after Eddie Murphy walked into a bar and had to kick some redneck ass to get his White Russian.

“Gran Torino” plays like a “Bad Santa”-esque comedy — unbelievable levels of unceasing profanity, the ante raised with racial epithets — but it is a seriously refreshing attempt to acknowledge what’s actually going on in putatively “post-racial” America.

This, alas, does not win Oscars, and Oscars seem to be what Eastwood wants, again. Hence “Invictus,” a virtual lock for all kinds of awards-season glory. It’s much safer and easier to talk about racial reconciliation and healing if it takes place a while back and in a country recovering from an official legislative racist policy that lasted longer than the America’s. The competition is light in the straight-up inspirational biopic category — “Amelia” already crashed and burned — and certainly the man’s welcome to it.

12092009_invictus.jpgBy all accounts, there are all kinds of problems “Invictus” doesn’t get into, from the fact that rugby’s lily-white nature in South Africa hasn’t changed since 1995 to its evasiveness about the ANC party that helped free Mandela and Winnie Mandela — the inability, in other words, to conceive of a moment not as a turning point, but as a series of conflicting images flattened over time into a generic inspirational tale.

The reason the film’s story can be resurrected as an obscure tale that’s actually a milestone is because it, uh, wasn’t a milestone. There’s always a catch.

Because Eastwood-as-director is prized for his “economical” direction and understatement, it’ll be tempting to view “Invictus” as the genre-hopping auteur’s stab at the sports movie, sandwiched between his comedy-of-racial-errors and his upcoming supernatural thriller “The Hereafter” — just another type of film attempted and conquered. Regardless, it is an awfully odd way to follow up “Gran Torino” — acknowledging the difficulties of race in one country by flattening those of another.

In other news, Clint Eastwood has heard Lady Gaga, and he does not entirely disapprove. But he doesn’t care for “Twilight: New Moon”:

[Photos: “Invictus,” Warner Bros., 2009]


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.