The expectations game and “Cars 2”

The expectations game and “Cars 2” (photo)

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Over on The Projector, Will Leitch wrote an interesting piece about the online discourse surrounding the release of Pixar‘s twelfth animated feature, “Cars 2.” He nicely sums up a lot of things I’ve been thinking about the movie and its aggressively negative reception by critics, some of whom appear almost giddy in describing the fact it will be the first Pixar film to earn a negative score on the movie review aggregation website Rotten Tomatoes. It wasn’t simply that people saw the film and didn’t like it; some people didn’t like it before they saw it. “It’s the Pixar narrative,” Leitch writes:

“…’Toy Story 3,’ in addition to being one of the most beloved movies of last year, was seen (in the eyes of movie writers, not Pixar) as some sort of goodbye to the Good Ole Days of Pixar, the admission that the company couldn’t stay on its hot streak forever, that they would have to grow up and turn into Disney eventually. That the next movie was ‘Cars 2’ — a sequel to the only nominated Pixar film since 2003 not to win the Best Animated Feature Oscar, the one with that Larry the Cable Guy ewww — secured the narrative: Pixar was now just trying to make money and didn’t care about quality anymore. ‘Cars 2’ was seen, months before anyone had seen it, months before it was even done, as a sign of creative bankruptcy.”

I’ve heard and read colleagues complain about “Cars 2” for months, all throwing out assumptions about the film and its guaranteed lack of quality. Because the first “Cars” was easily the most poorly reviewed movie in Pixar history (to that point) and because “Cars” merchandise is a billion dollar industry, the story from the beginning has been that Pixar only made “Cars 2” the movie so they could make “Cars 2” the toys. It would be naive to assume the franchise’s merchandising popularity didn’t play a major role in the film’s production — of course it did — but it’s equally naive to assume that it played the only role.

“Cars 2,” like “Cars,” is the brainchild of John Lasseter, the chief creative officer of Pixar. More than any other film since “Toy Story,” “Cars” is Lasseter’s baby; he developed the idea for the series after a family road trip along Route 66. Though critics might hate the world of “Cars,” Lasseter clearly loves it. Why else would he chose to direct “Cars 2” instead of “Toy Story 3?”

While the online film community might hate “Cars,” there’s another important group that loves it: children. Merchandise doesn’t earn a billion dollars just because someone makes it — just look at the tons of “Tron: Legacy” toys currently sitting in bargain bins across the country. Yes, you could cynically say the “Cars” characters were designed from the ground up as toy fodder. But I’ve watched “Cars” and played with “Cars” toys with kids. They do love them. Lasseter tapped into something primal here, just as he he did with “Toy Story.” But “Toy Story” was, from the start, more sophisticated and more knowing. It appealed more widely to both adults and to children.

Which brings up another interesting quirk of the narratives that movie writers like to write. How often do we read reviews of mainstream films bemoaning the fact that modern movies are watered down and rendered safe, bland, and boring by design to cater to the widest possible audience? Well, no one is better at this than Pixar — films like “Wall-E” and “Up” represent perhaps the finest expression of that one-for-all filmmaking style. So when Pixar makes a movie for everyone, they’re geniuses. When they make a movie aimed at children, when they narrow their focus and appeal exactly how film writers often prescribe, they’re lambasted for it. Ironically, it’s when they go narrow that they’re accused of playing it safe and watering down their material. These people are damned if they do and damned if they don’t.

That’s because Pixar, more than any other movie studio — now or maybe ever — has accrued an untenable reputation for quality. Critics and movie writers treat Pixar almost like a public trust; they forget that it is and always has been the arm of a major moneymaking corporation. Pixar, they say, must aspire to greater. And, hey, I wish every movie they made was as good as “Up.” But it is sort of crazy that people are getting so upset about Pixar making a toy-friendly movie when the entire foundation of the company was built on the most toy-friendly movie in film history. A part of me wonders whether they didn’t bite the bullet on “Cars 2” and accept that they’d get trashed for it just so they can get their first “flop” (a flop that’s already grossed $68 million bucks) over with so they can change the “Pixar narrative” to from inevitable fall to inevitable comeback.

According to Leitch, “the worst movie writers… are the ones who treat movies as some sort of expectations game, who go into every screening with as much information to supply their preconceived (and often incorrect) notions of a film as possible. Then, if the film is slightly better than they thought, it is ‘good.’ If not, it’s ‘bad.'” I agree. I haven’t seen “Cars 2” yet. It’s possible when I see it, I’ll disagree with everybody and think it’s a masterpiece. Or maybe I’ll hate it too. But whatever my opinion, it’ll be my opinion of the film, and not of the toy line.

Do you think critics treated “Cars 2” unfairly? Tell us in the comments below or on Facebook and IFC.

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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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