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DID YOU READ

“Restrepo,” a year of living dangerously.

“Restrepo,” a year of living dangerously. (photo)

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Reviewed at the 2010 Sundance Film Festival.

Restrepo is a soldier, Juan “Doc” Restrepo, big personality, good with a guitar, died early on in the Second Platoon, Battle Company’s 15-month tour in Afghanistan’s Korengal Valley, bleeding out from a gunshot wound while in the helicopter taking him toward medical help, leaving behind a flicker of self-shot video from the week before deployment. “Restrepo,” the documentary installment of the segmented Sundance 2010 opening night, gets its title from him, but also from the scraggly bunker the platoon builds deeper into insurgent territory — Outpost Restrepo, named in honor of their fallen friend.

Restrepo isn’t the first or last member of the Second Platoon to be killed over the course of the year that journalist Sebastian Junger and photographer Tim Hetherington (who share co-director credit on the film) spent embedded with them. Stationed in a remote and incredibly dangerous area, the unit struggles with the seemingly insurmountable task of overseeing the building of a road through the valley with the help of locals, who are less than inclined to lend their support because of the previous captain’s tendency to kill off the uninvolved along with the insurgents.

01212010_restrepo2.jpgBut mostly they seem to be there to get shot at, and to shoot back, especially the dozen-plus men at Outpost Restrepo, who are under constant fire. “Restrepo” is partially about how danger becomes normalized — while death is always lurking for these men, they still end up goofing off, roughhousing, singing. In one shot, a soldier climbs on top of a massive machine gun to perform some kind of maintenance check while carrying on a conversation over walkie-talkie with a colleague about the type of ranch he grew up on.

Junger and Hetherington shot the film themselves, and have some spectacular combat footage that’s almost difficult to wrap your head around — the handheld camera, the whip pans to action that’s already going on, the sense of adrenaline-addled disorientation has become the cinematic language of modern war, and when the film dumps you directly into an encounter with an IED, it takes work to remind yourself that it’s not, in fact, “The Hurt Locker,” and that the bullets peppering the ground at the feet of the man you’re watching would take at least a few toes off if they connected.

Pointing out that “Restrepo” is a nonfiction companion to “The Hurt Locker” is unavoidable — there are direct echoes in the way the men interact, in the generally apolitical tone, in the microfocus and structuring around timeframe instead of narrative arc, in the observation made by one man that getting shot at is an incomparable high. But I was also reminded of Kimberly Peirce’s muddier, emotionally anguished “Stop-Loss,” in terms of the tenderness with which the soldiers are treated, and in the portrayal of their sense of brotherhood. The film peppers footage taken during the year with more intimate interviews with some of them afterward, boys with baby faces and tough-guy tattoos who alternate between looking world-weary and painfully young. That tenderness, I think, is partially a natural outgrowth of being embedded, and part of the reason embedding exists. How can you live with a group of people, unified under the threat of constant danger, without feeling like you’re invested, one of them, part of the team?

01212010_restreppo1.jpgIt’s not a complaint, more an observation — there were times when I wondered if the film was being particularly gentle with its subjects, who all come across as very nice boys; who are, for the most part, free of virulent racism; and who might come to hate the assignment, but who never regret serving their country.

That would also account for what I found to be the film’s only major misstep, a series of comic bits that play over the credits, and that come across as, well, outtakes. This isn’t a Jackie Chan movie, and sending the audience away laughing isn’t a sentiment that at all seems to fit this otherwise artful, excellent doc.

“Restrepo” does not yet have U.S. distribution.

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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.