Seven movies that pushed the boundaries of storytelling.

Seven movies that pushed the boundaries of storytelling. (photo)

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Something struck me when reading Cameron’s typical hubristic declarations in his conversation with Peter Jackson over at Slate. He said “Filmmaking is not going to ever fundamentally change… It’s about those actors somehow saying the words and playing the moment in a way that gets in contact with the audience’s hearts. I don’t think that changes. I don’t think that’s changed in the last century… [The studios have] also lost the courage to make, frankly, a movie like ‘Avatar,’ which is a blockbuster-scaled movie not based on prior arc.”

But just because a film’s not part of a franchise doesn’t mean it’s a radical break with the hero-cycle past. And Cameron is way out there if he really thinks “Avatar” is all that different, when it comes to plot freshness, from the “Transformers” and “Harry Potter”s of the world. Leaving aside the avant-garde, there’ve been plenty of movies that re-orient how we think about narrative. Here are seven of my favorites from our waning decade:

“Borat” (2006)
I don’t need to tell you anything about this movie. Watching it opening weekend with a sold-out crowd was like remembering the shock waves Eminem sent out in 2000 or reading about the affect Richard Pryor used to have. What’s weird about it is the way it indicates what’s “real” and what’s staged: the visual quality goes way down, from near-filmic to sub-consumer-grade. I’m not sure what’s what (IMDb claim it’s all video), but — unintentionally or not — “Borat” indicates clear shifts from its narrative to its provacateur tactics by encouraging the public to pay attention to the quality of the film stock. That’s new.

“Code Unknown” (2000)
On the surface, this movie looks like another son of “Short Cuts”: multiple characters, intersecting and overlapping at odd moments without even realizing it, a trick done by everything from “Pulp Fiction” and “Magnolia” to (rock bottom) “Sin City” and “Crash.” But it isn’t: it’s about the failure of communication, and not all of its characters connect, or even realize the potential ramifications of what’s happening. Which is perfect for a movie about communication breakdown (see: the title), and also unexpected from a movie by Michael “Master of Didacticism” Haneke. It re-orients your expectations: you keep waiting for things to come together and converge on a focal point. And they never do.

“Donnie Darko” (2001)
All of Richard Kelly’s films have the starting assumption that you’ve read as much Stephen Hawking as he has and can fill in the narrative gaps accordingly. The original version of “Donnie Darko” is pretty incomprehensible, David Lynch in the suburbs, but sucked you in stylistically even if you couldn’t put together the pieces. (The director’s cut, ironically, ruined everything, spelling out what was elided — wormholes! alternate universes!) Either it’s something you can piece together with a decent knowledge of dumbed-down quantum physics (something Kelly forced me to investigate) or it’s something else: science as a way of filling in the emotional/plot gaps. Forget the Hot Topic t-shirts; that’s as radical as it gets.

“Irreversible” (2002)
It’s not so much that Gaspar Noé made a movie that goes from ending to beginning; if that was all it took, I’d have “Memento” here. But I’m not a “Memento” fan, and I do (with caveats) like this one. Noé prefers controversy to reasonableness (which has proven his major marketing hook), so many viewers were understandably distracted by, say, the opening, featuring a man getting his head bashed in with a fire hydrant, or the infamous extended rape sequence.

What “Irreversible” is trying to do, though, is go from the end to the beginning to suggest nothing less than the entire arc of “2001” (referenced in a shot of its poster) in a way more literal way, going from corruption and despair to innocence and rebirth (doomed from the outset) in under 100 minutes. It’s both literally and metaphorically a summary of human experience and how “time destroys everything,” as the opening line puts itt. This may or may not be stupid (it’s kind of both), but it is unprecedented, even when triangulated by its own reference points.

“No Rest for the Brave” (2003)
There are plenty of movies that operate on dream logic (the entire “Nightmare on Elm Street” series, for starters), but none quite like Alain Guiraudie’s first feature, a movie that more than earns Buñuel comparisons. This is a movie which opens with a guy rambling about how something called Faftao-Laoupo (which he may or may not have seen in his dreams) will kill him if he ever sleeps again. 20 minutes in, everyone dies. Cut to: sheep, someone talking about how being a shepherd, all things considered, is just fine. I’m not sure this movie makes sense, but I watched it twice within 24 hours, and I can safely say nothing else has even come close to blurring the lines of dream and narrative. Even “Mulholland Drive” is easier to parse.

The clip below doesn’t have subtitles, but there’s only one line, which is “I can’t believe how bored I am.”

“Primer” (2004)
Shane Carruth’s bold opening salvo (his only film to date) is unlike anything I’ve ever seen. It’s a movie shot for $7,000, the same budget, inflation-unadjusted, as Robert Rodriguez’s 1993 “El Mariachi,” but used for way more aesthetically impressive results. It’s about Texan engineers inventing a time-travel machine that works — so successfully, in fact, that the movie, without giving a hint of what it’s doing, simply adopts the branching timelines and alternate universes opened up once the engineers step inside “The Box.”

According to this timeline, there may be as many as nine branching universes knocking around in there. What “Primer” does best, though, is suck you in stylistically, then leave you to sort out the scientific (logical, but nearly impenetrable) mess. You don’t need to understand what’s happening to love it, just to know that it works. Black box magic indeed.

“Tropical Malady” (2004)
Splitting a film down the middle isn’t necessarily a radical trick — Korean director Hong Sang-soo does it as regularly as Michael Bay zooms in for the big gas explosion — but Thai visionary Apichatpong Weerasethakul not only attempts it pretty much every time out, he’s made it absolutely unreplicable. Suffice it to say no one else could’ve made a movie that showed a love story twice — once as a straightforward gay romance, again as man vs. jaguar. No one else out there is blending art-school strategy, visceral warmth and Thai folklore — not that I can imagine who else could.

[Photo: “Donnie Darko,” 20th Century Fox Home Entertainment, 2001]

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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