DID YOU READ

“I’m Still Here,” Reviewed

“I’m Still Here,” Reviewed (photo)

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Casey Affleck wants us to believe his documentary about actor Joaquin Phoenix’s retirement is real. For his sake, I hope he’s lying.

If “I’m Still Here” is real, then that means Affleck saw Phoenix, his brother-in-law, throwing away his career, his sobriety, and his maybe his sanity and decided to pick up a camera and get it all on film rather than stage an intervention. Instead of helping him heal in private he’s aired his ugliest behavior in front of the entire world. In other words, if “I’m Still Here” is the genuine article, Affleck might be the worst brother-in-law in history.

But while he may not win any awards for responsible familial behavior, he deserves at least a little credit for his filmmaking skills. With his first feature as a director, Affleck has made one of the most convincing and interesting movie pranks ever (that is, if he didn’t make one of the most exploitative and morally questionable documentaries ever). For the moment, let’s assume the former.

In that case, “I’m Still Here” is the “War of the Worlds” of actor meltdown movies. Its execution is so flawless and its internal logic is so strong, that we need the end credits to tell us that the film is not what it claims to be. It’s an interesting film to watch and an even more interesting film to discuss (for that reason, do not go see this movie alone). Since watching “I’m Still Here” on Tuesday I’ve had more conversations about it, about what it is and what it means, than any film this year except “Exit Through the Gift Shop.”

Like “Exit Through the Gift Shop,” “I’m Still Here” is equal parts chronicle of and joke on the intersection of art and celebrity in our society. The facts of the movie are already well-known because they all took place on television. In 2008, Phoenix, sick of “playing the character of Joaquin” in the media (a clue, perhaps?) suddenly announced his retirement from acting and began performing as a hip hop artist. He played a nightclub in Vegas and fell off the stage. He showed up for an interview on Letterman and acted confused and possibly high.

How did we go from the man who starred in “Two Lovers,” a world-class thespian delivering an heart-wrenching performance, to the man who promoted “Two Lovers,” a sloppy, rambling weirdo who makes subway hobos look eloquent in comparison? Phoenix’s documentary fills in the gaps. When he wasn’t insisting he was done with Hollywood, Phoenix was scouring the Internet for hookers, snorting coke off their breasts, belittling his assistants, or practically stalking P. Diddy to try to convince him to produce his album.

Did Phoenix really think he had a future as a rapper? Did he ambush Diddy “Borat”-style or was Sean Combs in on the joke the whole time? I personally believe the truth of “I’m Still Here” lies somewhere in the murk between the two extremes of documentary and fiction. Though Phoenix and Affleck are the film’s credited writers, and some of the parts appear to have been filled by actors, Phoenix looks too legitimately high at times to be acting. Compare him stumbling around, puffing on a joint and doing cocaine to someone like Nicolas Cage in “Bad Lieutenant.” If Phoenix is acting in some of these scenes, he is giving one the greatest and most fearless performances of all time.

But the fact that Phoenix may be legitimately high doesn’t automatically make this a documentary either. Phoenix is a great actor; he’s also one of our craziest. How do we know he wouldn’t get genuinely stoned on camera for the sake of verisimilitude in a fiction film? I’m still not sure. And that ambuiguity is the point.

In 2010, reality and fiction are not only indistinguishable in popular culture, the difference between them is essentially irrelevant. Millions of people tune in every week to watch “Jersey Shore,” never questioning how much of the show is staged for the cameras, or written by writers, or massaged in the editing room. Whether Phoenix was high on Letterman or whether he was pretending to be high, the resultant impact on his career was the same. Whether he’s a terrible rapper or a performance artist aping the affectations of a terrible rapper, his audience wasn’t interested in parsing the difference. They just wanted to see the freak show and get a video of it on their cell phones.

If “I’m Still Here” is real, even in some small way, it is a freak show. Some of Phoenix’s antics are funny, at least until you remember the possibility that he’s not joking. On the other hand, maybe he was joking all along but nobody got the joke, and now he has to suffer the consequences. If Phoenix is as screwed up as he looks in this film, then Affleck owes his brother-in-law an apology (he might also need to explain himself to his wife, Joaquin’s sister Summer, who does not appear in the film). If it’s not then it is one hell of a hoax. This movie has to be seen to be simultaneously believed and disbelieved.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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