DID YOU READ

Slumming it in the movies.

Slumming it in the movies. (photo)

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Back in 1996, Phillip Lopate had some complaints about Jim Jarmusch. Lopate was actually lamenting the intellectual decline of American film as a whole, but focused on Jarmusch (who was just about to release “Dead Man,” his first stab at overt intellectual ambition) as “a very gifted, intelligent filmmaker, who studied poetry at Columbia, yet he makes movie after movie about low-lifes who get smashed every night, make pilgrimages to Memphis where they are visited by Elvis’s ghost, shoot off guns and in general comport themselves in a somnambulistic, inarticulate, unconscious manner.” Oh dear.

The history of American indie film happens to be dominated by lowlifes and inarticulates. This is what happens when the godfathers of independent film are John Cassavetes and Melvin van Peebles, both attracted to working-class sparks. Complaining about intelligent guys wasting their talents on “low-lifes” smacks of snobbery, but it also ignores the fact that American indie film is and always has been primarily oriented towards the marginalized, who aren’t going to make movies about themselves, and certainly aren’t about to be the stars of mainstream films.

True Amerindie slumming comes in a different, weirder form. Take David Gordon Green, the prodigiously talented auteur who, in the last decade, leapt from the Malickian raptures of “George Washington” and “All The Real Girls” to “The Pineapple Express,” his painstakingly shoddy homage to crappy ’80s buddy movies. Green — a man fabulously supportive of the creative endeavors of his friends — also directed three episodes of the first season of “Eastbound and Down,” a show whose greatest creative ambition was humiliating Danny McBride and/or reveling in his endlessly profane vernacular. That and “Express” gave Green an outlet for the kind of crude comedy he couldn’t fit into his signature productions.

04052010_boarding.jpgIt seems like a lot of overtly intellectual filmmakers need release, though their lowbrow gestures are often misunderstood. For all the lip service paid by critics to the glories of B-movies and genre efficiency, some things are off bounds. Consider “Bad Santa,” Terry Zwigoff’s perfectly logical follow-up to “Crumb” and “Ghost World,” meditating as it does on what it means to be anti-social, the frequently demeaning nature of low-level jobs and crippling, overwhelming depression. But because it was marketed as just a broad comedy (and it is brilliantly crude), somehow most of the highbrows never noticed.

Olivier Assayas likes to dramatize the tension between highbrow aspiration and lowbrow attractions. Over and over, his movies show us smart people slumming: a former New Wave landmark making a trashy movie about thieving in “Irma Vep,” bright business-people working to promote feverishly lurid hentai porn in “demonlover,” and — finally — Assayas’ very own piece of trash, “Boarding Gate,” full of naked chicks and unmotivated violence.

Everyone gives in to the lure of the lowbrow eventually — rare is the person without any guilty pleasures, no matter how rigorous their field of interests or work. Today, though, it’s more common to see filmmakers occasionally indulging themselves — most of the time to general disinterest, but hey, at least it doesn’t hurt their credibility.

[Photos: “Eastbound and Down,” HBO, 2009-present; “Boarding Gate,” Magnolia Pictures, 2007]

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.