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DID YOU READ

The Naughts: The Critics of the ’00s

The Naughts: The Critics of the ’00s (photo)

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Luckily, though, Bordwell and Thompson aren’t “Get Off My Lawn” types. And when Bordwell looks askance at, say, intensified continuity, he doesn’t just decry fast cutting or shaky-cams and call it a day (though he tends to have more respect for classical filmmaking). He gets into the economic, cultural and technological factors that might have turned intensified continuity into the new industry standard — for example, a studio wanting to amass a wide array of coverage in case they decide they don’t like the director’s approach and decide to re-cut the film, or the director’s inability to decide what’s truly important in a scene, or in the story as a whole.

He and Thompson treat cinema as a fluid, living thing, forever changing shape and direction. They’re fascinated even by developments they find counterproductive or troubling — and they’re plugged into what’s happening now. Thompson has written what is perhaps the definitive book on the cultural phenomenon that is “The Lord of the Rings” trilogy. (It’s also detached and often skeptical, which makes it even more distinctive.) Bordwell adores animation and horror, keeps up with music videos and ads and is one of the most enthusiastic American boosters of Asian pop cinema (he’s Johnnie To’s biggest fan). He gets into the effect of TV, video games and online media, all of which reflect (and perhaps shape) filmmakers’ sense of how to tell a story, and the viewers’ ability to process information. And he has a knack for labeling phenomena in catchy, non-jargony ways; for three examples, check out Bordwell’s thumbnail descriptions of “network narratives” “broken timelines” and “companion films” here.

Bordwell and Thompson also grasp what ought to be a self-evident fact, but which often goes unremarked in contemporary film writing: cinema is an art form, art is made by artists, and artists generally don’t give one-sixteenth of a damn about making statements on such-and-such or reflecting the zeitgeist or carrying the torch for Godard or any of the other motives attributed to them by reviewers looking to lock art in a cage. Like athletes, musicians, tightrope walkers or any other sorts of performer (and yes, filmmaking is a performance), directors tend not to be slaves to theory. They’re motivated by a visceral appreciation of how movies move — and by respectful competitiveness. They see someone else’s film, admire a certain shot or cut or music cue or narrative device, then work it into their own film, which in turn is seen, absorbed and transformed by other filmmakers. When a lot of directors fall in love with a technique, what once was new becomes the norm.

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An example is the lengthy, elaborate Steadicam shot, which has become a familiar sight in auteur-driven films made during the last three decades and in TV dramas such as “E.R.” While all sorts of aesthetic, dramatic and even political rationales have been floated to explain the pervasiveness of super-long Steadicam shots, Bordwell implies that one-upsmanship might be the original culprit. As he writes in “The Way Hollywood Tells It,” “The crowd following Jake LaMotta from his dressing room, through the crowds and into the ring in ‘Raging Bull’ made [Brian De Palma] sit up. ‘I thought I was pretty good at doing those kind of shots, but when I saw that I said, ‘Whoa!’ And that’s when I started using these very complicated shots with the Steadicam.’ ”

That this type of writing is more apt to be described as “scholarship” than criticism says quite a bit about the impoverished state of criticism and the banishment of formal analysis to universities and elite film journals. What we tend to think about when we think about criticism — writing that’s mainly concerned with plot, characterization, themes, political allegory, race and gender politics, so-and-so’s Oscar hopes and the stupidity of every other critic — is not just as reductive as Thompson implied, it ignores the true source of cinema’s enchantment.

That’s a loss for critics as a writing class and a gain for Bordwell, Thompson and anyone else intrigued by the stuff that dreams are made of. The blurb-mongers and bomb-throwers huddle around this week’s releases, decrying this or that trend and arguing about whether so-and-so is a genius or a fraud, blathering like blind men trying to describe an elephant by manhandling its tail or trunk. Meanwhile, the cinematic taxonomists from Wisconsin are writing their own cinematic version of “The Origin of Species” in real time. Talk about a job worth doing.

This feature is part of the Naughts Project.

[Additional photos: “Die Hard” screen shots, from post “Seed-beds of Style,” Twentieth Century-Fox Film Corporation, 1988; “Transformers: Revenge of the Fallen,” DreamWorks/Paramount, 2009; “Raging Bull,” United Artists, 1980]

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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.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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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:

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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.

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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!

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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.

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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.

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SO EXCITED!!!

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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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.”

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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. 

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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.