DID YOU READ

Can’t Be At Cannes 2011, Thursday Edition

Can’t Be At Cannes 2011, Thursday Edition (photo)

Posted by on

It sucks not being at the Cannes Film Festival. To keep you up-to-speed on all the latest developments with the minimum amount of pain and jealousy, we’ll be providing frequent roundups of all the biggest news and best reviews. This is the first; future installments, along with all our Cannes coverage, can be found here.

Woody Allen’s 458th film (estimated), “Midnight in Paris,” kicked off this year’s Cannes Film Festival with the best reviews of any movie the legendary auteur has made since 2005’s “Match Point.” Todd McCarthy from The Hollywood Reporter says the film, about a screenwriter (Owen Wilson) vacationing in Paris who discovers a way to journey back to the city circa the 1920s, has “the concision and snappy pace of Allen’s best work.” Stephanie Zacharek went even further over at Movieline, where she calls it “the best Allen movie in 10 years, or maybe even close to 20.” What what whaaaat? I will let Stephanie explain further:

“Allen has often made a practice of pouring himself into his lead characters, sometimes with embarrassing, unwatchable results (as in the case of the aspiring comedy writer played by Jason Biggs in ‘Anything Else’). Wilson is an unlikely vessel for this sort of thing — and yet he’s the perfect one, illuminating some aspects of Allen’s persona that have often lain dormant and others that, perhaps, Allen only wishes he had. “

If you want to spark your own Woody Allen career consideration of the sort surely going on up and down the Croisette today, you can find excerpts from the “Midnight in Paris” press conference over at Anne Thompson’s blog or pour over Scott Foundas’ lengthy interview with the director in LA Weekly. Foundas is on the “Midnight in Paris” bandwagon too, by the way, calling his new work “as sublimely enchanting as any Allen film since 1985’s ‘The Purple Rose of Cairo.'”

The one big dissenting voice on “Midnight in Paris” I’ve read online so far comes from Mike D’Angelo over at The A.V. Club. He wasn’t a fan:

“Frankly, the Bill and Ted movies demonstrated more creativity than Allen manages here; as is often the case with his late work, I had the distinct impression that I was watching a first draft. But maybe I was just thrown off by the hideously uncharitable portrait of McAdams’ anti-imaginative fiancée. Literally everything she says or does makes her out to be the world’s pre-eminent killjoy (the better to drive Wilson into a romance with ’20s flapper Marion Cotillard). Thirty years ago, Woody was capable of introducing Diane Keaton as an insufferable know-it-all (in ‘Manhattan’), then revealing the credible human being underneath the amusing caricature. Now, not only is he content with a single dimension, he can’t even be bothered to give his shrewish Wrong Gal any first-class zingers.”

D’Angelo also weighs in one of the other two early heavy-hitters at Cannes, Julia Leigh’s “Sleeping Beauty.” We previously covered the film’s intriguing trailer on IFC.com, and though D’Angelo isn’t completely won over by Leigh’s work (he grades it a C+ on the A.V. Club’s scale) his description of its story about a sex worker played by “Sucker Punch”‘s Emily Browning who “agrees to be repeatedly drugged into unconsciousness and left naked in a bed, where elderly men can use her in any way that doesn’t involve penetration” is certainly an attention grabber. Peter Bradshaw namechecks all kinds of cinematic heavy-hitters in his review for The Guardian, comparing the film to everyone from Kubrick to Buñuel to Haneke, a fascinating stew of influences if I’ve ever heard one. Meanwhile The Telegraph compares it to a hybrid of Jane Campion (who is credited as a presenter of the film) and Lars von Trier:

“Browning’s performance is utterly fearless, suffused with mystery, cold as ice. Leigh’s spare screenplay trusts the audience to fill in the imaginative spaces, and her framing is precise and economical. Fast-rising composer Ben Frost contributes a potent score. What a strange, ensnaring achievement, not least for a first-time feature, ‘Sleeping Beauty’ is: no male director could have made it.”

Last but not least there’s “We Need to Talk About Kevin,” from “Ratcatcher” director Lynne Ramsay and based on a novel by Lionel Shriver. The film stars Tilda Swinton as the mother to the titular troubled character played by Ezra Miller, the talented teenage star of recent indie films like “Afterschool.” At indieWIRE, Eric Kohn says Swinton is “breathtakingly fragile” in “a sensationally moving evocation of the ultimate dysfunctional family.” Brad Brevet from Rope of Silicon says “the sound design, the editing, the cinematography, the direction and Swinton’s performance are Oscar caliber.”

I’m going to be very careful not to say too much more here because I already feel like I’ve had some of the film spoiled by a few loose lipped critics. Keep your own inclinations toward spoilers in mind as you link over to those articles. We need to talk about Kevin, guys, but maybe we should be just a little bit less specific about it.

Watch More
FrankAndLamar_100-Trailer_MPX-1920×1080

Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

Posted by on

“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.

Watch More
Brockmire-103-banner-4

Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

Posted by on

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.

Watch More
Brockmire_101_tout_2

Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

Posted by on
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.

Watch More
Powered by ZergNet