DID YOU READ

Slow cinema backlash.

Slow cinema backlash. (photo)

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It was inevitable that someone would get around to complaining that the dominant mode of the arthouse film had become super-languorous master takes. Over at “Sight & Sound,” Nick James has periodically used his front-of-the-magazine editorials to rail against what he sees as the excesses of “Slow Cinema.” Now the debate has shifted to passionate unpaid online writers: Harry Tuttle was peeved, and then Steven Shaviro did a frankly better job of articulating the anti-slow cinema case than James did. His argument is simple but eloquent: if contemporary slow cinema is descended from Antonioni, Akerman and so on, their rigorous long takes were adventurous provocations created by extremists. In the modern slow cinema, boundaries aren’t getting pushed: people are operating within a recognized, default artistic idiom. That suggests people are missing out on the chance to push the medium forward (wherever “forward” might be located).

Here’s the problem: there are masters, and then there are imitators. The problem isn’t “slow cinema” per se, any more than the problem with purely narrative, story-oriented film is that it can be practiced by both, say, David Mamet and Steven Spielberg as well as Steve “Paul Blart” Carr. That doesn’t mean narrative is dead; that means some people do it better than others. But with narrative movies, your average viewer can draw upon a wider sample selection of the effectual and ineffectual. The rigors of arthouse films require more cunning and self-motivation to track down.

05122010_lourdes.jpgSo when you get a small sample size of more rigorous-type films, you can get disillusioned a lot faster. But the names being brought up with monotonous regularity as premiere disciples of slow cinema — Bela Tarr, Carlos Reygadas, Tsai Ming-Liang — are pretty much indisputably the very best at what they do. You may not care for a five-minute sunrise, nor long tracking shots of the back of someone’s head. And that’s totally understandable. But these filmmakers are almost objectively the premiere practitioners.

The problem isn’t the masters. It’s the second-tier wave of films that premiere at Berlin and smaller festivals, rarely get picked up for distribution, and simply stagnate in their own self-righteous slowness. Outside the festival circuit few will ever see them. But those that do instantly understand why someone would wish a pox upon the whole movement. Earlier this year, a few American cities were treated to one such specimen: Jessica Hausner’s “Lourdes.” This is a movie that really does feel like it’s slow because it doesn’t know any better: shots go on but they’re not particularly complicated. There are no visual riches worth taking in slowly and the drama fails to rise. The whole thing just feels dull. I have no idea how this got distribution; the sheer star power of Sylvie Testud?

That’s really what James is objecting to: movies that show up expecting to be hailed for their high seriousness without earning it first. And that’s fair, because it complies with the golden rule of art: 99% of everything is garbage. The problem isn’t the mode, it’s the average product. The exceptions are always what matter.

[Photos: “Red Desert,” The Criterion Collection, 1964; “Lourdes,” Palisades Tartan, 2009.]

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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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