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Reconsidering “Anchorman”

Reconsidering “Anchorman” (photo)

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As I walked into 92YTribeca for a special screening and panel discussion of the 2004 film “Anchorman” last night, I asked one of the panelists, my friend and IFC News contributor R. Emmet Sweeney, if I was in the right place to complain about how “Anchorman” is a terrible, overrated film. I was making a joke: I’d assumed that if you took the trouble to schlep to a theater and paid $12 for a movie you could rent for less in any video store or watch on basic cable for free, you were probably a big fan. I’d anticipated “‘Anchorman’ Reconsidered” to turn into a love fest for the film and its creators, director and co-writer Adam McKay and star and co-writer Will Ferrell.

Boy, was I wrong.

To my great shock, this was the place where people came to complain that “Anchorman” is a terrible, overrated film. That’s not to say that the film was without its defenders. Four out of the five critics on the panel were all staunch pro-McKay/Ferrell advocates, and they all made thoughtful comments about why “Anchorman” is such a special film. But they were frequently overshadowed by the fifth and most vocal panelist, senior editor at The New York Observer Christian Lorentzen. Lorentzen, who described himself as full-time literary critic who dabbles in film criticism, was brought to provide the counterpoint to the panel’s four “Anchor”-fans — O‘s Jessica Winter, The Film Society of Lincoln Center’s Scott Foundas, FilmInFocus.com’s Nick Dawson, and Sweeney — and he fulfilled his job smashingly.

His assessment of the film was swift and merciless. “It feels to me like another string in the line of ‘Saturday Night Live’ alumni pictures. It’s surprising that they never got around to making ‘Weekend Update: The Movie’ until they got to this movie,” Lorentzen said. He also bashed “Anchorman” producer Judd Apatow (“It just goes to [his] default genitalia fascination. It’s not offensive to me at all, it’s just boring.”). And he rejected McKay and Apatow’s improvisational style as “insufficient.” At one point, he worried that “this reliance on improv [might] signify a sort of giving up on writing and giving up on scripts that are able to zing in the way that scripts in the ’40s, or whenever you might point to as the golden age of highly written comedy did.” It’s not terribly shocking that a literary critic isn’t a huge fan of comedy that doesn’t rely on the writing process. But who cares about technique if the results are funny?

Lorentzen’s comments weren’t inappropriate or unexpected — after all, he was introduced as the guy who would be arguing against the film — but I was surprised to see how many people in the audience seemed to agree with him. The woman sitting directly in front of me took great pride in announcing that she’d loved “Anchorman” when it came out in 2004, but had since come to realize that it “wasn’t funny.” The woman next to her wondered if “Anchorman” had been bad for American comedy because it had inspired so many knockoffs, even from its own creators. Another audience member faulted the film’s inability to blend comedy with true drama. This despite the fact that he’d watched it, in his estimation, fifty or sixty times.

Personally, I’ve always believed that if a movie compels you to watch it several dozen times, it doesn’t matter whether it’s “truly dramatic” or not. There’s got to be something valuable in there, right? As I watched “Anchorman” at 92YTribeca for what was probably my fifteenth time, I remain convinced that it is the funniest comedy of the last decade. Naysayers be damned, it is a masterpiece.

Obviously, these things are subjective. And I’ll confess: the first time I watched “Anchorman” I didn’t really get it. But like the other gentlemen who was inexorably drawn to it again and again, I found myself watching it whenever it came on television, handing the DVD off to friends, quoting it with anyone who knew Papa Burgundy. I became a fan almost without realizing it. “Anchorman” is seductive; winning you over with its charmingly Neanderthal vision of the 1970s, feisty battle of the sexes, and deranged dream logic.

Lorentzen repeatedly cited the newscaster rumble as the worst part of the film, because it’s a needless and pointless scene with no connection to the rest of the movie.

I love this sequence for the exact same reason. It’s needless and pointless and wild and mad and ludicrous (it does also take the film’s critique of excessive machismo to its wildest extreme). McKay and Ferrell will follow their comic impulses wherever they lead, and their moves hum with a sense of anarchic freedom that is absent from other mainstream comedies. As their contemporaries have retreated to formula, regurgitating meet cutes and false breakups and quirky diner conversations, McKay and Ferrell have remained delightfully unpredictable; their last film, the underrated “The Other Guys” featured arguably the best rug-pulling shock death scene in any movie since Alfred Hitchcock’s “Psycho.” It was certainly the funniest.

One of the real pleasures of the night was the fact that 92YTribeca didn’t simply screen the stellar new “Anchorman” Blu-ray and instead projected a well-travelled 35mm print of the film. That also meant they screened the original theatrical cut, and after years of watching the “Unrated, Uncut, & Uncalled For” edition on DVD, it was like watching the movie again for the first time. Considering the differences between the two cuts, it occurred to me that in addition to all his other strengths, McKay is one of the savviest directors when it comes to making movies in the era of DVD and Blu-ray. You can watch his movies again and again, because he designed them to be appreciated in all their different incarnations. On most discs, deleted scenes are special features filler; you might watch them once, if at all. They were deleted for a reason. On Adam McKay films, the deleted scenes are essential viewing. This is especially true of “Anchorman,” which had so many deleted scenes, McKay cut them together into a second feature called “Wake Up, Ron Burgundy” that is better and funnier than most Hollywood comedies released this year. On McKay’s films, nothing goes to waste. He eats the whole buffalo, cinematically speaking.

Of course the movie isn’t a rich dramatic experience (it does smell like rich mahogany though). The movie is literally laughing at the idea of movies as rich, dramatic experiences. If you read about McKay, his history in Chicago co-founding the Uprights Citizens Brigade as a bomb-throwing improv and performance art troupe, you see that he’s a guy who loves deconstruct; he even took credit for naming the improv game “The Deconstruction” on a recent episode of the WTF Podcast. He loves to mess with preconceived notions of how a movie should look, and sound, and behave. Which is why McKay should remain in the Hollywood studio system despite the protests from some at the 92YTribeca last night who believe he needs to make a tiny Robert Altman-style indie. Would you ask James Bond to quit spying on the Russians and so he could do anti-Communist activism at a small non-profit organization? We need McKay, modern Hollywood’s cleverest saboteur, right where he is.

Lorentzen wasn’t buying that either. “It’s a different and higher ambition to make art for a smaller audience that’s truer to certain values,” he said before asking “Does [“Anchorman”] really elevate anything beyond “Airplane!” or “Caddyshack” or “Wayne’s World?” At last, we agreed on something. No, “Anchorman” doesn’t do anything beyond stand comparison to maybe the three funniest comedies of the last thirty years. Being one of the funniest movies of our lifetime isn’t enough? As Brick Tamland said, I don’t know what we’re yelling about.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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