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DID YOU READ

The State of Sports Movies

The State of Sports Movies (photo)

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If you’re like me, you’re trapped in the house under two feet of snow and you’ve got a lot of time on your hands. So it’s the perfect day to read “The Sports Guy” Bill Simmons’ lengthy treatise on the state of sports movies on ESPN.com. It is an interesting (if a tad long-winded) read but, hey, what else are you gonna do? Shovel the driveway? I didn’t think so.

Simmons begins by identifying what a down year 2010 was for sports movies: besides “The Fighter,” you had the inspirational horse drama (obviously — all horse dramas are inspirational) “Secretariat,” the basketball romantic comedy “Just Wright,” (in the proud tradition of “Forget Paris”) and the “Bad News Bears”-y girls’ basketball movie “The Winning Season” starring Sam Rockwell. The dearth of sports movies, a typically dependable cinematic staple, coupled with all the talk about how hard it was for Mark Wahlberg to get “The Fighter,” led Simmons to wonder how sports movies have evolved over the last few decades.

Though he has a bunch of interrelated points (and I encourage you to go to his entire piece to read them all), the big — and I think quite astute — picture is this: that sports movies thrive on familiarity, while modern mainstream Hollywood’s bigggest selling point is what I would call “enormous newness.” Here’s Simmons:

“The movie industry is battling the same issue as every professional sports league: How do you keep dragging consumers to your theater/stadium when (A) the home experience keeps improving (better televisions, surround sound, Blu-rays, season packages, the Internet), and (B) because we’ve become a nation of multitaskers, some people don’t want to spend two or three hours sitting in the same seat focusing on one thing?

So in essence, with so many entertainment options at our disposal, and so many different ways to consume media, what reason is there for audiences to come to the theater instead of waiting for films to come to them? Hollywood’s answer, at least in the short term, is spectacle: provide a 3D action-o-rama that can’t be replicated even on the finest home theater set-ups (and you better believe the studios are sweating bullets at the thought of 3D televisions catching on). A new movie has to be something you haven’t seen before and can’t see at home: hence, “enormous newness” like “Avatar.”

That makes sports movies like “The Fighter” an endangered species, since originality is anathema to their success. Ironically, since they involve men and women pushing themselves to accomplish nearly impossible physical feats, we like sports movies not because they challenge us, but because they reassure us. As Simmons notes, “We’re so accustomed to seeing every boxing movie end the same way — with our hero winning the big fight — that even though we love having curveballs thrown at us in the theater, it always feels disconcerting if a boxing movie ends unhappily.” He’s right; even the “Rocky” films that end with Rocky losses in the ring involve greater and higher spiritual or moral victories; he goes the distance, proves he’s still got a champion’s heart, etc. Sports movies are cinematic comfort food: we know “Rocky III” isn’t particularly good for us, we know it won’t teach us much about cinematic technique (other than, say, how to make an effective training montage) but, dammit, they make us feel so good.

In a sense, sports movies are victims of their own enormous success. We grew to love sports movies so much, that we could only envision them one way: the “Rocky” way, the “Bad News Bears” way, the underdog-makes-good-and-warms-our-hearts-way. Now when a new sports movie comes out it has to try to distinguish itself in some way to earn our money (and to convince us not to wait two years until it’s playing Saturday afternoons on basic cable to see it) while still fulfilling all of the classic sports movie cliches. The easiest and most common way to do that is to simply change the setting and the sport: from boxing to baseball, from little league to kids’ hockey. But that grows tiresome too. From that perspective, sports movies’ decline was inevitable. What else should we expect but decline if we refuse to let a genre evolve?

With all of these issues, plus the proliferation of good sports documentaries and reality television series, Simmons wonders if we still need sports movies at all. Ultimately, though, he believes “there’s more than enough room for both.” If a filmmaker can “just tell the story and tell it well,” he says, then “the rest will take care of itself. You hope.”

I’m not sure if that’s wishful thinking or resigned sarcasm on Simmons’ part. But “The Fighter” tells a story well, and it isn’t exactly lighting up the box office charts. According to BoxOfficeMojo.com, in one week of limited release and two weeks of wide release, the film has earned about $28 million, decent returns for a relatively small film, but certainly not enough of a hit at this point to reverse the decline in sports movies. Because that’s what it’s really going to take. Not a remarkable story of heartwarming courage that demands to be told on the big screen, or a really inventive take on the old formulas; just cold hard box office numbers. A new sports movie renaissance can only start with one massive sports movie hit. Only then others will follow, like the hundreds of kids who trailed Rocky through the streets of Philadelphia in the training montage to “Rocky II.”

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

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

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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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.