DID YOU READ

“The Tree of Life,” Reviewed

“The Tree of Life,” Reviewed (photo)

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Director Terrence Malick is a magician with a movie camera. But watching his new film, “The Tree of Life,” is like watching a magician perform one trick over and over again for 138 minutes. As amazing as that trick is, when it’s repeated endlessly, it loses some of its luster.

In “Tree of Life,” Malick produces images that are as stunning for their beauty as they are for their simplicity. One, in which an upside-down camera dances around the shadows of playing children, is absolutely astounding. Others look so good they literally made my jaw drop. But then the shots begin to pile up: more children playing, more images of the abstract luminescence of space, more hands delicately brushing across thistles (always with the thistles!). I kept waiting for something, anything, to break the monotony. It never did. Malick likes to shoot with magic hour light, so named because it’s rare and ephemeral. Not in “The Tree of Life,” where it’s always magic hour. Individually, these shots are incredible. But at a certain point, the perfection becomes almost suffocating.

Malick’s approach is both microcosmic and macrocosmic. Maybe that makes it simply cosmic, since the film’s scope includes scenes chronicling the birth of the universe itself, from the sparks that ignite suns to the evolution of creatures from globs of cells to thoughtful dinosaurs (yes, even the dinosaurs in a Malick film are thoughtful). Before and after his interstellar journey, Malick focuses in on an American family that is almost certainly based on his own childhood in small town Texas: a rebellious son named Jack (Hunter McCracken) and his strict but loving father (Brad Pitt) in Smithville in the 1950s.

There is no narrative per se, no story thrust upon Jack and his family. Artful, wordless scenes at the beginning of “Tree of Life” inform us that Jack’s brother will die years later as a teenager (much like Malick’s own brother did). And artful, wordless scenes that follow find Jack (and, perhaps, Malick himself) as an adult played by Sean Penn, wandering a modern landscape of cold glass and steel and business meetings, and slipping into a desert dreamscape. Penn fans looking for a performance on par with “Mystic River” or “Milk” should readjust their expectations; his role is small and his percentage of the film’s dialogue — which isn’t much to begin with — is even smaller. All the actors are fine, but none have much room to work with. They’re all just chess pieces for their director. They exist here not as people but as ideas of people, pretty but sort of empty.

“The Tree of Life”‘s greatest accomplishment is the way in which it transforms intensely personal childhood memories into these transcendent, fragmented moments of grace: the movie feels plucked, bit by beautiful bit, directly from Malick’s brain. But despite the resonance of individual chapters, the film never adds up, like a pile of Jenga pieces no one bothered to stack. Even though the film seems to exist inside the shared consciousness of its characters, we never get very deep inside any of their heads or their lives. For a movie with such audacious ambitions — to create a dialogue between the entire story of the universe and the entire story of one family; the sun versus the son, as it were — “The Tree of Life,” plods forward in a shockingly repetitive routine. Kids playing, father admonishing, mother (Jessica Chastain) watching silently and beautifully, idealized and unknowable. Over and over.

The visuals will stay with you for a long time, and Malick’s work is bold and risky in a way that not enough films are. Still, I hesitate to call it unconventional; as a Terrence Malick movie, it’s actually kind of conventional. With “Badlands, “The Thin Red Line” and the rest, Malick’s already proven he can make this sort of movie: striking, melancholy, gorgeous, and somewhat distant. I know I’m being greedy, and I’m in no position to tell an unquestioned master of cinema, what to do with his gifts. But isn’t it exciting when a magician does something new?

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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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