DID YOU READ

Review: “My Own Love Song” takes so many wrong turns it’s almost all right.

Review: “My Own Love Song” takes so many wrong turns it’s almost all right. (photo)

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Reviewed at the 2010 Tribeca Film Festival.

One of my fondest memories of the Tribeca Film Festival involves the time I went to see “Tennessee,” the road trip drama in which Mariah Carey found her voice, literally and figuratively, and helped two lost souls find their way as well. It was an awful movie, but not in the fun way that the trio of friends sitting next to me had hoped, sneaking in a flask under one of their coats and making all sorts of snide comments about Carey before the film started. Unfortunately, the alcohol was more likely to put them to sleep rather than enhance their enjoyment of the film, which was a total bore.

It saddened me to think those guys probably weren’t at the premiere of “My Own Love Song,” which took essentially the exact same story and threw in scenes of animated flamingos and kingfishers, a batshit Forest Whitaker and Elias Koteas, and Nick Nolte serving up slices of a psychedelic chocolate cake. Sadly, these things overshadow Renee Zellweger’s first genuine performance in years as a wheelchair-bound singer who reluctantly travels down south to New Orleans when her mentally unstable pal (Whitaker) stumbles upon a letter from her son who she gave up for adoption.

The rosy glow that Zellweger once exuded has seemed to return, albeit under a thicket of brown hair and little makeup. It’s one of the rare examples of subtlety on the part of director Olivier Dahan (“Ma Vie En Rose”), who, like Wong Kar-wai and so many other foreign filmmakers, decided to make his English-language debut on a de Tocqueville-esque travelogue.

04232010_ZellwegerMyOwnLoveSong3.jpgIn some sense, it wouldn’t matter where “My Own Love Song” takes place, as Dahan explained during the post-screening Q & A how “it’s not a real realistic movie, it’s more about dreams,” but, like an early scene at the start of the film where Whitaker carries Zellweger into an ice cold lake during a day of fun in the sun, Dahan doesn’t ease us into the water.

We first meet Zellweger’s Jane Wyatt at a bar where she feigns interest in a farm machinery insurance agent who won’t take no for an answer — until she reveals her paralysis from behind a table. The first shot of Whitaker’s Joey has him laying flat in a parking lot as a galaxy of stars turns to asphalt. The pair are bonded by their shared trauma and add a third when a young married woman named Billie (Madeline Zima) shares a bus ride with them and explains how her husband has disappeared.

All three are looking for something, but in setting up tangible goals for each of the characters, Dahan makes a film that’s utterly adrift when it comes to a coherent narrative. For instance, don’t ask for the specifics when the trio is lured into Nolte’s cabin in the woods of Cairo, Mississippi by a guitar riff and then listen patiently as he recounts how Robert Johnson sold his soul to the devil in Clarksdale to play the blues, complete with a reenactment. Also, it’s best not to wonder why Zellweger is suddenly able to sing a stirring rendition of “This Land is Your Land” after years of refusing such requests (though the moment gives an idea of what she might’ve done had she played Janis Joplin, as was once planned).

04232010_WhitakerMyOwnLoveSong.jpgTo be fair, “My Own Love Song” couldn’t be anywhere near as bad as it is without being as ambitious as it is. The film features original music from Bob Dylan (I counted four of a reported 16 new songs composed specifically for the film), and frequent Spike Lee and Darren Aronofsky cinematographer Matthew Libatique rarely stops using a steadicam — there’s a car chase in the film that is almost breathtaking between its constant movement and Dahan’s use of split-screens, until it gets confusing and ultimately frustrating.

You could also use those adjectives to describe Whitaker’s performance of the schizophrenic Joey; like Nicolas Cage, you can always count on Whitaker’s commitment to character, but you never know when you’re going to get “The Last King of Scotland” or something like this, which borders on parody with all of Joey’s strange tics and a half-baked romance that develops between he and Billie.

After the film’s international premiere at Tribeca, Dahan was warmly received by the minority of the audience that stayed, with those using their questions to praise the director for the dreamlike quality he brought to the film, which is why Zellweger’s Sarah may sum up the film’s appeal best when she asks during her wistful narration, “Should I believe or should I disappear?” The answer may be the former for some, but as the festival walkouts testified, the latter for most.

“My Own Love Song” is currently without U.S. distribution.

[Photos: “My Own Love Song,” Légende Films, 2010]

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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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GIFS via Giphy

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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