DID YOU READ

Why There’s Nothing New with Kevin Smith’s “Red State” Self-Distribution Plan

Why There’s Nothing New with Kevin Smith’s “Red State” Self-Distribution Plan (photo)

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Early reaction out of Kevin Smith’s “Red State” premiere at Sundance has suggested the film isn’t the horror movie that its director had touted it as, but that would hardly be the only thing that was misleading about the film’s premiere on Sunday night. Instead of auctioning off the film’s rights in public as he suggested he would do, Smith announced that he would self-distribute the film, which may not have pleased the assembled buyers in the crowd, but falls squarely in line with the approach he’s taken with “Red State” all along.

After finding interesting ways of eating away at the cost of the $4 million film like offering a “Red State Club” for $100 in Los Angeles to join his podcasts, Smith is taking the unusual, but not unprecedented step of releasing his latest film by going on a 15-city tour beginning in March in advance of a traditional theatrical release on October 19th, eschewing paid advertising for what he can accomplish on all of his own social media accounts. (It’s all in the manifesto he and producer/former Miramax exec Jon Gordon lay out on — what else? — the film’s Web site.) In the 25-minute spiel that followed the end credits of “Red State,” Smith described a distribution system for indie films that he saw as broken and went so far as to say that he’ll retire after his next film to concentrate on helping other filmmakers follow in his path.

What was surprising in all the reactions on the social media sites that Smith will employ to hype the “Red State” run is just how many people appear to believe self-distribution is a new idea, which does a disservice to those brave or well-funded enough in the past to try the same thing or the smaller distributors for which the release of every film is a new battle. There’s no doubt that Smith continues to inspire people as he did when he made “Clerks” on a shoestring budget in a New Jersey convenience store 17 years ago, but Smith is hardly a pioneer and sounds a bit disingenuous when he talks of “producing a film distribution apparatus that can stand apart from the cost-prohibitive studio model” after building his brand off the backs of a clever Miramax marketing department in their prime. (As Devin Faraci at Badass Digest writes, it’s not a stretch to think Harvey Weinstein will lend a helping hand even now.)

Of course, Smith wisely parlayed his notoriety as a filmmaker into something even more substantial as a personality and as my colleague Matt Singer rightly pointed out on Twitter, the asking price of “6, 7, maybe 10 times [a normal ticket price]” that Smith plans on charging for the roadshow version of “Red State,” in which he’ll probably put in a personal appearance not unlike those on the “Evening of Kevin Smith” DVDs, is about what it would cost ordinarily for one of his performances plus a $10 movie ticket.

While Smith has the unique advantage of having the fan base to command that price, it’s not all that far away from the $70 Arclight Cinemas and likeminded exhibitors charged for “Sex and the City 2”-themed nights around the country last summer, the $25 that our corporate sibling IFC Films was charging to see longform films like “Che” or “Carlos” in their entirety, or the total dollars taken in by self-distributed indies such as “Anvil! The Story of Anvil!”, which piggybacked its theatrical rollout on the back of the heavy metal act’s concert tour (and vice versa). Smith should be applauded for using his appeal to find a better way towards profitability than relying on the traditional spend on marketing, but while the scale of “Red State”‘s distribution may be larger, it can’t be called a revolution, or for that matter, something other filmmakers without Smith’s pull could easily attempt and have immediate success at.

Smith also made a point of saying he would reach out to potential exhibitors by offering more favorable terms than the traditional studio release would, and according to Anthony Breznican’s account at Entertainment Weekly, used the example of his own film “Cop Out” to say, “”We want to partner up, man. We won’t screw you over. We won’t be like, ‘You gotta fucking take this piece of shit. If you want ‘The Dark Knight,’ you better take this piece of shit ‘Cop Out.'”

But that’s a double-edged sword. Smith shouldn’t have any trouble booking theaters, but what he might prove troublesome is collecting from them. Whether the quality of “Red State” is more like “The Dark Knight” or “Cop Out,” Smith doesn’t have a continual pipeline of films to keep the exhibitors honest. Looking at one of the best-case scenarios of self-distribution, Mel Gibson’s “The Passion of the Christ” made $370 million in the U.S. and employed the savvy Bob Berney, then at Newmarket, to help bring the film to the public. Ultimately, Gibson’s Icon Distribution had to sue Regal Entertainment to the tune of $40 million after the film was released because they felt the theater chain was holding back on the profits. It’s not likely “Red State” will become a phenomenon like “Passion,” but it certainly wouldn’t be surprising if it fell victim to the same business practices since there’s no incentive, other than Smith’s next (and allegedly final) film “Hit Somebody,” to pay up.

Smith is absolutely right when he suggests anyone can release a film, but that was just as true a decade, if not decades ago as pointed out by Cole Abaius on Film School Rejects, though they rarely have the publicity that Smith can muster. In 2001, I can remember when an indie called “The Debut” played at the local AMC theater and director Gene Cajayon was onhand to greet anyone who bought a ticket for any of the film’s shows during its weeklong run. I imagine he did that at nearly every weeklong run the film had at theaters around the country until it made a tidy $1.8 million under the radar and got a DVD distribution deal with Sony the hard way.

It should be celebrated any time a filmmaker decides to carve out their own path and often it takes a filmmaker with the fame of Smith to lead the way, but in the case of “Red State,” it’s unfortunate that he appears to be claiming the idea as his own.

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The Nutty Professor Eddie Murphy 1996

Weird Science

10 Weird Movie Substances That Had Hilarious Consequences

Catch The Nutty Professor this month on IFC.

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Photo Credit: Universal Pictures/Everett Collection

If you’ve ever opened your refrigerator to find some seriously gnarly days-old potato salad, then you know that sometimes the most harmless-seeming things can turn freaky. Movies have conjured up some truly bizarre stuff, often the work of crazed scientists. Before you catch The Nutty Professor on IFC, check out some of the icky-est, gooey-ist and just plain weird substances on the big screen.

10. Flubber

Flubber
Walt Disney Studios

Professor Brainard’s “flying rubber” increases its speed every time it bounces, and increases the chaos, destruction and unlikely basketball-dunkage of anyone who uses it. Thankfully the movie ends before its thermodynamic impossibility cause the incineration of the entire universe.


9. Quantonium, Monsters Vs. Aliens

Monsters Vs Aliens
DreamWorks

In Monsters vs. Aliens, both action-packed parties are battling over Quantonium, an exotic material which massively empowers anyone who holds it. Literally in the case of Susan Murphy, whose exposure turns her into Ginormica and enables her to fight against Gallaxhar’s invasion force.


8. Sustengo, Little Fockers

Sustengo
Universal Pictures

After finally finding favor with his hard-bitten father-in-law, Greg Focker (Ben Stiller) finds himself strapped for cash and starts promoting Sustengo, an erectile dysfunction drug. Which means leaving boxes of ED drugs lying around a family who can’t even use a toilet without triggering a series of hilarious misunderstandings.


7. Iocane, Princess Bride

Iocane
20th Century Fox

Iocane is a deadly poison with no odor or taste that dissolves instantly in any liquid. The perfect tool for murder isn’t usually hilarious, but The Princess Bride makes everything funny. Hero Westley (Cary Elwes) tricks cunning Vizzini (Wallace Shawn) into drinking the poison in a game of wits. Vizzini lost, not knowing that the answer is “Don’t drink anything offered by someone who just talked about how awesome their poison is.”


6. PX-41, Despicable Me 2

PX41
Universal Pictures

The mutation compound engineered by PX-Labs turns anything into a purple, fluffy, indestructible killing machine. And when Despicable Me‘s famous Minions are dosed with it, look out. Dr. Nefario (Russell Brand) crafts an antidote, PX-41 Antidote, proving he’s much better with chemicals than he is with names.


5. Mood Slime, Ghostbusters II

Mood Slime
Columbia Pictures

When the Ghostbusters came back for their 1989 sequel, the slime they encountered was sillier and scarier. The “Mood Slime” was a special form of ectoplasm utterly saturated in the emotions of everyone and everything around it. And while our heroes energize some positive vibes with Aretha Franklin tunes, the entire city of New York’s psychic outpourings are filling the sewers with something distinctly less positive.


4. The Stuff

The Stuff
New World Pictures

A science fiction soft-serve satire, The Stuff is about an oddly organic treat which is utterly delicious and zero calories. In fact it’s negative calories, because if you eat enough it’ll take over your brain and hollow you out from the inside.


3. Miracle Weight Loss Serum, The Nutty Professor

Buddy Love
Universal Pictures

The core component of The Nutty Professor‘s plot is a miraculous weight loss serum, a simple fluid which re-engineers human DNA all by itself. This allows sweet but sizable Sherman Klump (Eddie Murphy) to transform into the tight, toned and turbocharged Buddy Love (Murphy again). The serum is revealed to be fatally dangerous, but anything which allows Eddie Murphy to play himself cranked up to the max is pure comedy gold.


2. Cobalt Thorium G, Dr. Strangelove

Dr Strangelove
Columbia Pictures

Dr Strangelove or: How I Learned To Stop Worrying and Love The Bomb is about a bomb built with Cobalt Thorium G. It’s a doomsday device designed to annihilate all human civilization and is, slightly worryingly, based on the least fictional materials on this list. Cobalt and thorium both have applications in nuclear weapon design. Luckily we haven’t got them up to G yet.


1. Ectoplasm, Ghostbusters

Ghostbusters
Columbia Pictures

The Ghostbusters live in a world where ghosts are real but physics is still in charge. So while the ghouls are flung around with proton packs, they get the boys in grey back with their appalling ectoplasm, or slime, trail. As Venkman says, getting covered in the stuff will make you feel all funky.

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Fast Times Jennifer Jason Leigh

Retro Grades

The 11 Best Movie Comedies of the ’80s

Catch Fast Times at Ridgemont High during IFC's '80s Weekend.

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Photo Credit: Universal/Everett Collection

The ’80s gave us so many great things (Tab, anyone?), but when it comes to movie comedies, the Reagan years were a golden age of funny. In honor of IFC’s ’80s Weekend, we’ve selected the best big screen comedies from the decade that gave us Bill Murray, Eddie Murphy and other comedy greats. And like one of the movies featured below, this list goes to 11.

1. Back to the Future

“A high school slacker goes back in time, takes his mother to a dance, and gets dangerously close to becoming his own father.” The elevator pitch for Back to the Future doesn’t sound so charming, but the 1985 flick starring Michael J. Fox, Christopher Lloyd, Lea Thompson and Crispin Glover is declared by many as being the perfect movie. (Though we can’t officially say if the Eric Stoltz version would’ve been better.)


2. Ghostbusters

The sheer number of childhoods that were professed to be ruined by the recent reboot should tell you how beloved the original film is. A perfect blend of comedy, horror and fantasy, Ghostbusters has an indelible cast at the top of its game and a heap of one-liners worthy of countless casual references. They have the tools, and they have the talent.


3. Airplane!

Speaking of one-liners, it doesn’t get much more quotable than the 1980 Zucker-Abrahams-Zucker classic Airplane!. Almost a one-to-one parody of the 1957 disaster film Zero Hour!, Airplane! works so well because of how straight faced the zaniness is played — which is something its many imitators fail to notice.


4. This Is Spinal Tap

Rob Reiner, Christopher Guest, Michael McKean and Harry Shearer created the de facto mockumentary film with the hilarious 1984 rock diary This Is Spinal Tap. Heralded as one of the most accurate depictions of backstage life by actual real-life bands, the movie showcases an aging glam metal band struggling for the spotlight while keeping the group intact (especially the spontaneously combustible drummers).


5. National Lampoon’s Vacation

While Caddyshack and Fletch are quintessential Chevy Chase films, nothing beats the bumbling patriarch of the Griswold clan losing his mind en route to Wally World, America’s favorite family fun park. Yes, the sequels saw diminishing returns (aside from Christmas Vacation), but the one that started them all is endlessly watchable. Amen, let’s go!


6. Fast Times at Ridgemont High

Director Amy Heckerling and writer Cameron Crowe managed to capture exactly what high school life was like in the early-’80s. The awkwardness, the frustrations, the scares, the search for purpose and gratification, Fast Times presents its young characters as fully fleshed-out individuals (even the designated stoner shows nuance) and doesn’t talk down to its audience like many teen movies do. (Click here to see all airings of Fast Times at Ridgemont High on IFC.)


7. Beverly Hills Cop

A reminder of the days when Eddie Murphy was the edgiest comedian in showbiz, the one-two punch of Beverly Hills Cop and 48 Hrs. set the template for modern action comedies. We wouldn’t have the Rush Hour franchise and every Kevin Hart film without Axel Foley.


8. Trading Places

A treatise on the Nature vs. Nurture argument at the height of Reagan-era excess, Trading Places depicts the lives that are held in the balance when the mega-rich make friendly $1 wagers and just how joyous the retribution can be. Dan Aykroyd, Eddie Murphy and Jamie Lee Curtis are terrific as the leads, the Duke Brothers are delightfully evil, and in all seriousness, that is a nice purse.


9. Better Off Dead

This 1985 Savage Steve Holland movie is teen angst at its most surreal and affably goofy. John Cusack stars as Lane Meyer, a high schooler still reeling from the loss of his girlfriend to a cocky champion skier. (Is there any other kind in an ’80s movie?) With bloodthirsty paperboys, foreign-exchange street races and stop-motion hamburger interludes, Better Off Dead doesn’t let realism get in the way of accurately portraying pure teen heartbreak.


10. Midnight Run

Of all the critically acclaimed pairings that actor Robert De Niro has had through the years, few are as entertaining as his reluctant team-up with a persnickety Charles Grodin in 1988’s Midnight Run. Perfect foils, the bounty hunter and mob accountant race against time, the Feds and mafia hits until mutual Stockholm Syndrome kicks in and the partnership stops becoming merely professional. (The counterfeit bill scene alone is worth the watch.)


11. Heathers

Heathers is the kind of pitch-black comedy that would never get a major release in 2016. Unflinching in its satire of school shootings, teen suicide and the tragedies that come with the need to fit in, the movie remains relevant to the kids currently growing up in a cruel and judgmental world. And the fact that it’s laugh-out-loud funny while also making a sharp point about youth culture is a testament to how great the movie really is.

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Bill Hader in Conan Star Wars Audition Sketch

Acts of Wars

Watch Bill Hader, Melissa McCarthy and More Audition to Play Young Han Solo

The Documentary Now! star shows off his best Han and Chewie.

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Photo Credit: TBS/YouTube

Thanks in large part to The Force Awakens not sucking, the Star Wars universe is about to get a lot more expansive. Sequels, spin-offs, TV shows, and more are underway — which means a helluva lotta casting calls. Fortunately, Conan O’Brien got his hands on a few audition tapes of celebrities trying out for a role as a young Han Solo.

Check out Documentary Now!’s Bill Hader, Melissa McCarthy, Portlandia favorite Jeff Goldblum, Todd Margaret star Will Arnett and other funny folks offering their takes on what that younger, brasher space swashbuckler would be like.

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