Interesting Talk About Boring Movies

Interesting Talk About Boring Movies (photo)

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You might remember Dan Kois’ notorious piece in The New York Times Magazine about “cultural vegetables,” in which the author admitted to suffering “a kind of culture fatigue” when dealing with movies he found slow, or deliberate, or flat-out boring. I wrote my own response at the time; now, Times critics Manohla Dargis and A.O. Scott have weighed in with their own piece entitled “In Defense of Slow and Boring.” CRITIC FIGHT! (Say it like Cartman from “South Park.”)

As their title suggests, Dargis and Scott do not side with Kois on the issue of cultural vegetables. Dargis connects his use of the word “boring” with her use of the word “thinking,” as in any movie that requires you to think a little, that doesn’t deaden your senses into submission with an assault of noise and light, is labeled as boring. Here is more:

“So, is boring bad? Is thinking? In Chantal Akerman’s 1975 film ‘Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’ there is a scene in which the title character, a housewife who turns tricks in her fastidiously neat home, makes a meatloaf in real time. It’s a tedious task that as neither a fan of meatloaf or cooking, I find difficult to watch. Which is the point: During the film’s 201 minutes Ms. Akerman puts you in that tomb of a home with Jeanne, makes you hear the wet squish-squish of the meat between her fingers, makes you feel the tedium of a colorless existence that you can’t literally share but become intimate with (you endure, like Jeanne) until the film’s punctuating shock of violence. It makes you think.”

This is not far from the argument I made in my own piece on cultural vegetables; while acknowledging that some deliberate films are tedious, I noted that in the worthwhile ones, form follows function. A quick cut montage of Jeanne Dielman making meatloaf set to the sound of Donna Summers’ “She Works Hard For the Money” might be entertaining (get on it, YouTube!), but it wouldn’t allow you to experience the soul-deadening desperation of the protagonist in the same way as that a lengthy real-time depiction of the meatloaf cooking.

Scott spends a lot of his section responding to critic Richard Schickel’s review of “The Tree of Life” (which, while far from mainstream, is hardly a cultural vegetable in my opinion; too many viscerally exciting visuals. Also, dinosaurs). But his conclusion raises an interesting question about the issue of cultural vegetables:

“Why is it, though, that ‘serious’ is a bad word in cultural conversations, or at least in discussions of film? Why is thinking about a movie an activity to be avoided, and a movie that seems to require thinking a source of suspicion? It seems unlikely, to say the least, that films like ‘Uncle Boonmee,’ ‘Meek’s Cutoff,’ ‘The Tree of Life’ or Jean-Luc Godard’s recently and belatedly opened ‘Film Socialisme’ will threaten the hegemony of the blockbusters, so why is so much energy expended in defending the prerogatives of entertainment from the supposed threat of seriousness? …I would like to think there is room in the cinematic diet for various flavors, including some that may seem, on first encounter, unfamiliar or even unpleasant.

On the one hand, I can understand the point of view of someone who reads Scott’s piece and is confused by his love of unpleasantness in cinema. After all, we judge most movies, even many smarter ones, by gauging their pleasantness: the cleverness of their dialogue, the rapidity of their pacing, the intensity of their scares or thrills. A movie that lacks those things is typically described as unsuccessful, so it sounds a little weird on the surface to recommend a movie on the basis that nothing happens and what little does happens, happens really slowly.

Scott’s question reminds me of issues I heard discussed during George W. Bush’s presidency, and the question of why many modern Americans seem to dismiss or even distrust intellectuals while preferring political leaders who position themselves as “average Joes” (here’s an example of the sort of article I’m talking about). Perhaps the two are connected. Maybe we distrust intellectual movies in the same way. Maybe dumb Hollywood entertainment feels more American somehow.

Or maybe there’s a much less nefarious conspiracy at work. Maybe it’s just a matter of brain chemistry. On a daily basis, we’re being more and more deeply conditioned to expect instant gratification. No need to watch three minutes of commercials during your favorite TV show; your DVR box will fast-forward through them. No need to watch the highlights of the NBA playoffs when you get home from a date; you can watch or listen to the game right on your phone (the date might not go so well, but some things are more important than romance). Some people I know are incapable of going to the bathroom without using the four or five free seconds of privacy to check their email. It’s not even a choice at this point for a lot of people. It’s a reflex. In a world so heavily committed to instant gratification a movie like Andy Warhol’s “Empire” — an eight hour shot of the Empire State Building — isn’t just a tough sell; it’s an impossible one. “Eight hours straight? Without checking my cell phone?”

To those that feel that way, let me suggest something: try it once. As my impossibly patient wife can attest, I’m on my own phone way too much (in my defense, I’m doing really well in fantasy baseball this year). Sometimes it can feel like an addiction: I have to stay connected, I need to make sure I don’t have any new emails. So I view cultural vegetables at a welcome escape from the intensity and insistence of modern technology. I look forward to turning off my cell phone and disconnecting myself from the grid, losing myself for a few hours and thinking about something other than when I can next check Twitter. In that way, these movies really can be cultural vegetables: something genuinely nourishing.

What’s your favorite “cultural vegetable?” Tell us in the comments below or on Twitter and Facebook!

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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