DID YOU READ

“Fast Five,” Reviewed

“Fast Five,” Reviewed (photo)

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Finally, The Rock has come back to action movies. Yeah yeah, I know he made “Faster” last year, I know he doesn’t even go by “The Rock” anymore — it’s Dwyane Johnson now, Jabroni — but after years in the kiddie movie wasteland, he’s back where he belongs: beating the holy crap out of people. “Fast Five” has both the continuation of the adventures of Vin Diesel’s Dominic Toretto and Paul Walker’s Brian O’Conner and Johnson as their new badass adversary; it’s an embarrassment of macho riches. This movie is so drenched with testosterone, it belongs on Major League Baseball’s banned substances list.

It starts by resuming the nuanced, multilayered plot threads from the end of 2009 “Fast & Furious.” Brian and his girlfriend Mia (Jordana Brewster) break her brother Dom out of prison and the three flee to Rio de Janeiro. Looking to get out of the driving very rapidly and stealing things business, they decide to stay in the driving very rapidly and stealing things business for one last job, and assemble an all-star roster of former “Fast & Furious” co-stars to help them, including Tyrese Gibson and Chris “Ludacris” Bridges from “2 Fast 2 Furious,” Sung Kang from “The Fast & The Furious: Tokyo Drift,” and Gal Gadot from “Fast & Furious.” The enormity of the returning cast — including a few unannounced cameos — turns the film into a “House of Frankenstein” for muscle-bound muscle car movies. But while Dom and Brian’s gang plan to rob Rio’s drug kingpin, Johnson’s DEA Agent Hobbs pursues them as fugitives on the run from United States justice.

“The Fast & The Furious” franchise started in 2001 as a movie about an undercover cop with frosted tips torn between his responsibilities and his deep, deep manlove for a drag racer. The series’ camp elements peaked with “2 Fast 2 Furious,” a movie that culminates with a chase scene so ridiculous that “Starsky and Hutch” used it as its own climax and didn’t have to chance anything to play the scene for laughs. Since then, the series has gotten progressively more straight-faced, if no less absurd. That transformation from corn to pop is completed in “Fast Five,” which tones down the street racing and amps up the heist film elements that have always bubbled beneath its surface. The newfound gravitas is supported immensely by Johnson, who provides a literally sweaty intensity missing from the stone-faced Diesel and smirky Walker. I’m pretty sure he never unfurrows even once in the entire picture. He doesn’t change his shirt once, either. No time for that stuff when there are smackdowns to lay.

Writer Chris Morgan and director Justin Lin combine all kinds of action in this masculine hullabaloo — a big and enjoyable heist, some good car chases, foot chases, and fight scenes — another way in which “Fast Five” is a bit like a Frankenstein monster. The enormous, lumbering frames of Diesel and Johnson — and their big, destructive mano-a-mano rumble, with its shades of Lugosi’s monster versus Chaney’s werewolf — is another.

“Fast Five’ is significantly longer than any of the other films in the series, and it sags a bit in its middle section; typically heist films thrive on scenes of ingenious planning and preparation, but the “Fast & Furious” movies have never been at their best basking in the intellect of their protagonists. Regardless, Lin, directing his third straight film in the franchise, has evolved into a skilled action director capable of choroegraphing chases that never sacrifice clarity for freneticism. The dual chase, with the Brazilian mobsters and the DEA agents both hot on the heels of Dom and Brian’s crew through the streets and rooftops of a Rio favela, is a bravura sequence.

When you step back and look at it, this series’ evolution is kind of insane. Its fifth entry is unquestionably its biggest and most technically accomplished production yet. It’s also the least silly and the least dumb. This all flies in the face of the rules of almost every long-running movie franchise, which typically turn to self-cannibalization when they exhaust every original idea by installment three or four. It’s kind of sad that simply making a very professional and satisfying movie in a film series feels innovative in our climate of cinematic autosarcophagy. But it does. “Fast Five”‘s so satisfying that even before a cute post-credits teaser, it’s pretty easy to smell what The Rock and his new friends are cooking: another sequel.

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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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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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