Countdown to Top Ten 2K11: “Meek’s Cutoff”

Countdown to Top Ten 2K11: “Meek’s Cutoff” (photo)

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Countdown to Top Ten 2K11 is a column with one simple goal: to help you decide what films you need to see before making your end of the year top ten list. Each installment features my thoughts on a critically acclaimed 2011 movie, a sampling of other critics’ reactions, the odds of the film making my own list, and the reasons why it might make yours.

This time we’re covering “Meek’s Cutoff,” one of the most divisive arthouse indies of the year. Is it a brilliantly original take on a classic genre or a steaming plate of “cultural vegetables?” Let’s find out.

Movie: “Meek’s Cutoff”
Director: Kelly Reichardt
Rotten Tomatoes Score: 85%
Plot Synopsis: Three families and their hapless guide lost on the Oregon Trail in 1845 struggle to survive as their water supplies dwindle lower and lower.
What the Critics Said: “Bracingly original,” A.O. Scott, The New York Times
“Cinematic as it is, ‘Meek’s Cutoff’ has an uncanny theatricality,” J. Hoberman, The Village Voice
“A grippingly original work, with gorgeous cinematography,” Dana Stevens, Slate

Were They Right? I’m with Scott and Stevens: this is an undeniably original take on a very old genre (Stevens is dead-on about the cinematography as well; stunningly beautiful even in the old-fashioned 1.33:1 pan-and-scan aspect ratio). This is not the Old West of other movies. There’s no awe-inspiring cattle drive, no hard-charging cavalry riding to the rescue. Forget all the posturing from Ford and Hawks movies about taming the savage landscape, clearing the way for civilization, and proving your manhood. Those are all frivolities; Reichardt’s West is too unforgiving for that. Meek’s brigade faces much more basic problems, like figuring out where the hell they are and finding water before they all die of thirst.

The earliest scenes are both the wettest and the driest. Three wagons slowly cross a river. Then they clean their dishes in the gurgling water. After resting, they press on, in a journey to who knows where. There’s no exposition and less action. The characters’ faces are hard to see and their words are hard to hear; I actually had to plug in my headphones to hear the dialogue because the audio on the DVD was so faint through my computer’s speakers without them. This is surely the portion of the film that inspired Dan Kois’ controversial “Eating Your Cultural Vegetables” piece in The New York Times, and led him to describe the movie as “closed off and stubborn as the devout settlers who populate it.” This sequence certainly is.

If you stick with the film, though, the prologue’s importance becomes clearer. The river crossing looked uneventful, but it was also the last time any of the characters saw water. The wagons, led by a big-talking, big-bearded huckster named Stephen Meek (Bruce Greenwood), have gotten themselves lost. If they don’t find their way back to a river soon, they’ll be in serious trouble. Meek, who’s supposed to be in charge, doesn’t seem all that reliable.

As one character notes, Meek could be “ignorant” or “just plain evil.” It’s hard to say, which suggests he may intended as an allegorical stand-in for George W. Bush, another overconfident cowboy who led some naive and foolishly trusting people into uncharted territory with similarly disastrous results. And Greenwood is terrific in the role, though he may not receive the Oscar nomination he deserves for no other reason than he’s so completely unrecognizable behind a wall of facial hair and a frontier accent that voters may not recognize him. They’ll surely recognize Michelle Williams, also good as the strongest and most independent of the three wives on the wagon train. Reichardt’s focus on the women’s perspective of this doomed expedition and her curiosity about their daily lives of chores and toil is another way in which the film diverges from traditional Western narratives.

That’s supposing that “Meek’s Cutoff” has a narrative, Western or otherwise, at all. At times, it feels like it doesn’t. The only break in the monotony of the trudge through the Oregon scrub is the addition of a captured Native American (Rod Rondeaux) to the brigade. As the water supply dwindles and civility amongst the emigrants breaks down, identifying the native’s mysterious motives becomes yet another source of tension. In a quiet way, this is a devastating ticking clock movie. Every time the settlers stop for a drink or bicker amongst themselves about whether to follow the native or Meek they’re one step closer to death. By the end of the film, the desperation in their faces and their voices is absolutely haunting.

That said, even though I disagree strongly that watching this movie is an unpleasant experience akin to eating your vegetables, “Meek’s Cutoff” isn’t quite as successful as Reichardt’s last two efforts, “Old Joy” and “Wendy and Lucy.” I was particularly unsatisfied by her choice of endings — although, according to this Village Voice interview with the director, it wasn’t a choice at all, but rather an economic necessity of a budget that ran out before shooting was completed. I don’t know what Reichardt’s original ending was, but I’m sure it would have been better than the one that was forced upon her, in which one person in the group says and does something completely out of character, and another performs an action that is open to a variety of equally unrewarding interpretations. The conclusion’s ambiguity leaves you with the feeling that going on this journey with these characters was a huge mistake. Admittedly, that may have been Reichardt’s point.

Could Get Oscar Nominated For: Best Supporting Actor (Bruce Greenwood)
Chances of Making My Top Ten: Slightly better than the emigrants’ chances of finding water with Meek.
It Might Make Your Top Ten List If: you dig revisionist Westerns; you’re a big fan of Reichardt’s previous films; you miss playing “Oregon Trail” on your Apple II.

“Meek’s Cutoff” is now available on DVD, Blu-ray, and iTunes; you can also rent it on Netflix. If you see it, tell us what you think; leave us a comment below or write to us on Facebook and Twitter.

Previously in Countdown to Top Ten 2K11
“Margin Call,” directed by J.C. Chandor
“Bill Cunningham New York,” directed by Richard Press
“Hanna,” directed by Joe Wright

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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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