DID YOU READ

Something’s Got a Hold on Me, And I Don’t Know What: “Somewhere,” Reviewed

Something’s Got a Hold on Me, And I Don’t Know What: “Somewhere,” Reviewed (photo)

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As we left our screening of “Somewhere,” a colleague observed that he’d never been to the Chateau Marmont, where much of the movie is set, but that he “couldn’t believe how crappy it looked.” I’ve never been there either, and while I’m not sure that that’s the description I’d choose, as it’s sketched out in the film the famous West Hollywood hotel doesn’t conform to any of the expected trappings of luxury — the grounds look rambling and overgrown, the eclectic furniture comfortably broken in, the overall air studiedly unpretentious. It’s a very high-end version of what George Clooney’s character in “Up in the Air” deemed “fauxmey” — a shabby chic, sun-dappled aerie filled with beautiful, sometimes famous playmates, where everyone knows your name and room service is available 24 hours a day.

That sense of coddled coziness is important to Johnny Marco (Stephen Dorff), because the Marmont is the hotel he lives in when not off staying at other hotels, on shoots, press days and Italian award shows. Johnny is a movie star and, as far as we can divine, a very famous one, enjoying an easy, debauched break between features. So rudderless is his lifestyle that his days are shaped by the people who show up at his doorstep or call him on the phone — his agent rings to tell him a car will be out front in 15 minutes to take him to a junket; he comes home to find his best friend presiding over a party in his suite; he wakes up to find his daughter Cleo (Elle Fanning) signing the cast he has on the arm he broke taking a boozy accidental dive down some stairs. Cleo lives most of the time with her mom and Johnny’s ex Layla (Lala Sloatman), but she comes to stay with her father twice — the first time as a regular instance of a partial custody agreement, the unscheduled second because her mother needs some space.

12222010_somewhere3.jpg“Somewhere” has obviously echoes of Sofia Coppola’s earlier melancholy movie star story “Lost in Translation,” playing out like a minor B-side to that better film, though one with its own petite pleasures. While “Lost in Translation” focused on a relationship enabled by the impermanent jetlagged bubble of displacement of a Tokyo hotel, that bubble is where Johnny has chosen to spend his life, the only abiding aspect of which, the only permanent mark he’s left on the world beyond a string of the more forgettable type of multiplex movie, is his 11-year-old child.

He’s a charming, unreliable bastard, a noncommittal man so sedated by indulgence that he’s arrived on the cusp of middle age without a moment of self-reflection. Women are always either throwing themselves at him or throwing a tantrum at him when he fails to return their calls or treat them with respect. Even Cleo is enchanted by him but wary — there’s no doubt that he loves her, but also that he’s made no larger place for her in his life. On a trip to Rome, for instance, they spend an evening watching TV and ordering in gelato, but after she’s gone to sleep he summons a former lover he ran into in the lobby, the three taking an awkward breakfast together in the morning.

Johnny and Cleo’s time together is everything of substance in this wisp of a movie, and Fanning is touchingly good as a little girl whose still takes delight in the giddy perks of A-list existence, but no longer really finds them enough to make up for her only semi-present dad. When her breakdown happens, it is, like most of the emotional moments in the film, all the more powerful for being underplayed — a child weeping with worry that her parents are too busy with their own needs to pay attention to hers. Johnny’s own comeuppance, on the other hand, is artless and heavy-handed, a bald stating out loud of what had been delicately left understood before. Or maybe it’s that Johnny’s more an absence of a main character than any active force (something that is, admittedly, part of the point of the movie), and so whatever change happens in him over “Somewhere”‘s course seems more like a new impulse to be indulged rather than any growth.

12222010_somewhere4.jpgIt’s a seductive thought, that the most beloved and pampered of stars can find their lives empty and emptied of meaning, and “Somewhere” seems aware of and plays into our desire for celebrity schadenfreude a bit. Coppola’s unmoving camera observes from a wry remove the pole-dancing pair of strippers Johnny orders to his room, or his race car circling a track, zipping in and out of the frame but never going anywhere. And yet, through the unaffected gaze of Cleo, these things seem magical again, for Johnny, of course, but also for us in the audience. Sure, it’s a shallow existence, but it can also be pretty sweet — providing you have someone to remind you of the fact.

“Somewhere” opens in limited release today.

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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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