“The Bang Bang Club,” Reviewed

“The Bang Bang Club,” Reviewed (photo)

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This is a strange week to review “The Bang Bang Club.” When I saw the film about ten days ago, it was a biopic about the past, and war photographers in 1990s South Africa. Today it feels like a movie about the present. Sitting here, trying to write about the film, I can’t stop thinking about “Restrepo” director and war photographer Tim Hetherington, who was killed earlier this week covering the civil war in Libya. We think of movies as these fixed things. But they change right along with us. When I saw “The Bang Bang Club” ten days ago, I liked it. Now, I feel haunted by it.

The film is about a real-life group of photojournalists who were known as “The Bang Bang Club.” They went into the most dangerous parts of South Africa and took photographs that others were too afraid to get. In the process, they brought a secret war to international attention. There were four members of the group: Greg, Ken, Kevin, and Joao. By the time their careers as war photographers were over, either by choice or because of their deaths, two of them had won Pulitzer Prizes for their work.

Director Steven Silver goes to great lengths to recreate the Bang Bang Club’s pictures in the film, even shooting many scenes in the same locations where the original events took place. Even as simulations, these pictures make an impact. Recreations of township riots and fierce militant gunfights pulse with unsettlingly realistic energy. You can feel the tension in every scene.

Though all the members of the Bang Bang Club were South African, several of the actors in the film are North American. Ryan Phillippe plays Greg, the last addition to the crew and the first to win the Pulitzer. Taylor Kitsch plays Kevin, the open-hearted soul who welcomes Greg in. He frames the narrative with an interview with a radio station. “What makes a photograph great?” the host asks Kevin. He pauses, at a loss for words. The movie that follows provides the answer. You know what they say about pictures and words.

The rest of the Club includes Frank Rautenbach as Ken and Neels Van Jaarsveld as Joao. All four make a convincing tight-knit group of friends and colleagues, and Phillippe and Kitsch’s South African accents are good enough to be unnoticeable, which is good enough. The most physically attractive photojournalism staff ever assembled is rounded out by Malin Akerman as their editor, Robin. A love story brews between Greg and Robin which doesn’t add much to the film, though that might be as much the fault of the real people involved as the screenwriters trying to adapt their messy lives into a manageable narrative. Such are the hazards of biopics.

I would have liked “The Bang Bang Club” to more clearly delineated the various forces fighting for control of South Africa. And I wish it directly confronted the racial component of a film about four white men documenting — and also profiting from — the horrors that legions of black men were visting upon one another. The film is largely apolitical, perhaps by design. The Bang Bang Club saw it as their job to witness and record these events, not necessarily to comment on them.

Give “The Bang Bang Club” credit though. It manages to be an entertaining and illuminating look into the lives of photojournalists without blindly valorizing them as perfect, golden heroes. They may be brave; the may also be thrill-seekers. And the film pays more than lip service to the idea that for all the good that these photographers did, they could have done more. To get the shot that won him a Pulitzer Prize, Kevin Carter had to resist the urge to help a starving child as a vulture circled her. After witnessing Greg’s coldness with some subjects, Robin says he pretends like the people he photographs aren’t even human. Greg doesn’t argue. Does that make his actions — and inactions — inhuman?

Phillippe and Kitsch are both such handsome actors, that it’s easy to forget the actor part and focus on the handsome part. But both give strong performances here that honor the legacies and memories of them men they’re portraying. There’s room for more nuance in “The Bang Bang Club,” but there was enough to keep me engaged. And after this week’s news, the film flooded back to me and I couldn’t stop thinking about it.

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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


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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GIFS via Giphy

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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