DID YOU READ

Martin Campbell’s short memory about “Edge of Darkness.”

Martin Campbell’s short memory about “Edge of Darkness.” (photo)

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The number of Americans who know that “Edge of Darkness” — this Friday’s Mel Gibson-vs. everyone conspiracy actionfest — is actually a remake of a beloved landmark BBC miniseries is very small; almost no one I’ve talked to who wasn’t working press was aware of it (not even some of the latter knew; then again, I’m one of those pesky Anglophiles). Fewer still, I imagine, will realize that director Martin Campbell directed the original as well, which is some kind of benchmark. There’s a few cases of directors tackling their own work again, but generally within the same medium (Hitchcock’s two versions of “The Man Who Knew Too Much,” the Dutch original and American remake of “The Vanishing”). But this is a whole other animal: the compression of five hours into two, 25 years later. As far as I know, there’s no precedent for it.

And apparently, it’s been long enough ago for Campbell to forget a few things about the original. In an interview with CanMag, Campbell said that a scene in which Gibson puts shaving cream on his young daughter “was entirely Mel’s idea […] a scene that Mel improvised with the little girl.” Well no, it wasn’t: it’s one of the very few scenes the remake takes intact from the original, so I guess Gibson remembers the original better than its director.

Now, I know I’m being petty asking Campbell to recall the exactitudes of a production from 25 years ago, but there are a few things he’s wrong about, and they’re kind of crucial. Speaking of his style on the original to ComingSoon.net‘s Edward Douglas, he notes: “I hope I shot the film fairly simply. I didn’t try to do anything pretentious with the way it was shot.” Well, he didn’t. 1985’s “Darkness” won’t be winning awards for convoluted mise-en-scène anytime soon, but it’s far from straightforward. In moments of chasing and running, Campbell tends to put some kind of major obstruction in the foreground to block off space; you can see the directions people are running in and in what order, but you can’t really see where they’re going or, sometimes, who’s pursuing who. He does stuff like this over and over for four episodes, visualizing the confusion of a script that’s already plenty confusing just in outline (until suddenly, in episode five, we’ve put together pretty much all the pieces and it’s time to get on with the chases and speechifying).

01272010_edgepeck.jpgThe other thing’s a little odder. The original version is nothing if not a creature of its time, full of era-specific Thatcherite politics and a very real concern with nuclear weapons. But the “Edge of Darkness” remake has generic politics: without spoilers, what it comes up with could be plausible only to your most unshakeable 9/11-truther. Which is fine: the politics here are a pretext rather than a raison d’être. But Campbell kicks it up a notch in an interview with The Guardian: “None of that mid-’80s stuff is scary anymore. It’s like everyone has plutonium in their back garden now.” Again please? The fact that plutonium isn’t in the hands of potentially mendacious industrialists but in everyone‘s is less scary…how?

Campbell is probably perfectly sincere when he claims “I liked the emotional story, from the original, of Craven losing his daughter. That side of the story is what I loved. The political story didn’t really interest me anymore.” That’s his right. But in a remake that, quite frankly, could use a lot more Gibson-on-anyone violence and a lot less in the way of generic father-daughter bits, it’s a bit inexplicable. And it’s forgetful of what Campbell brought to the original series: not just competently helming a fascinating teleplay that leveled the personal and political (not in the usual facile sense either), but complementing it visually.

[Photos: “Edge of Darkness,” Warner Bros., 2010; “Edge of Darkness,” BBC, 1985.]

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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