DID YOU READ

“The Iron Lady,” reviewed

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A few years ago, The Onion wrote an incredible article about Meryl Streep called “Name One Masterpiece Of Cinema That I’ve Starred In.” The commentary, written in Streep’s voice, savagely ridiculed — and astutely observed — the fact that Streep, maybe our greatest living actress, does not have the greatest filmmography. She’s appeared in a couple memorable movies — “The Deer Hunter,” “Kramer Vs. Kramer” — but not many. “Go ahead,” “Streep” writes, “try and name a classic movie I’ve starred in. Not a classic character I’ve portrayed, mind you, but an overall amazing piece of cinema. You can’t. You just can’t.” Streep’s turn as former British Prime Minister Margaret Thatcher in “The Iron Lady” is another none-too-classic example.

That’s despite the fact that Streep gives another chameleonic performance, almost two chameleonic performances, in two distinct time periods: in the 1970s and 80s, as Thatcher in her prime, and in the modern day, as Thatcher in the throes of dementia, hermit-like and trapped in conversation with the ghost of her dead husband Denis (Jim Broadbent). As usual, Streep’s work is technically remarkable. Age, build, posture, accent, hair, temperament, Streep nails them all. If you want to be awed by a performance, “The Iron Lady” is for you.

If you wanted to be awed by a movie, though, you’ll need to look elsewhere. The early scenes establish the structure: Streep as the decrepit Thatcher attempts to finally get rid of her husband’s possessions. Rummaging through her past keys flashbacks to Thatcher’s early life, falling in love with Denis and rising to power in the Conservative Party. At first the backwards glances are brief. But as the film progresses, they begin to dominate the runtime until Thatcher — and director Phyllida Lloyd and screenwriter Abi Morgan — are totally lost in her memories. The increasingly frantic pacing of the flashbacks may have been Lloyd and Morgan’s way of mimicking the confusion of an aging woman’s mind, but they also kill whatever little drama there was in the film. Eventually “The Iron Lady” devolves into a SportsCenter highlight reel of a woman’s life, a series of meaningless and insubstantial scenelets whose only evident purpose is to make sure Streep has plenty of showcases for her impressive performance.

Streep is undeniably impressive throughout, and her resolve and determination through the weaker stretches of the film is positively Thatcherian. But whether she demanded it be or not, “The Iron Lady” is less of a movie than a showcase for Streep. There’s no tension here, just that big voice and brassy haircut. To use another sports metaphor, if Streep were a baseball player, she would be Barry Bonds: blessed with incredible natural gifts but seemingly more interested in personal accomplishments than team ones. Bonds holds all the home run records but he never won a World Series. Similarly, Streep’s won every accolade imaginable for her work, but the Best Picture Oscars have been few and far between (the last one came for 1985’s “Out of Africa”).

Come to think of it, what about “Game of Shadows” as her next project?

“The Iron Lady” opens in limited release on Friday. If you see it, let us know what you think in the comments below or on Facebook and Twitter.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

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This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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