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Why no film should be considered unremakable

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The Telegraph has a slideshow this week entitled “Films that shouldn’t have been remade.” The list, inspired by the news of an impending remake of the ’80s comedy “Police Academy” (because the brilliance of the original “Police Academy” cannot be improved upon, I guess?), includes such inessential cinema as Jan de Bont’s “The Haunting,” Brett Ratner’s “Red Dragon,” and Wolfgang Petersen’s “Poseidon.” There’s one or two films on the list I don’t mind — F. Gary Gray’s “The Italian Job” strikes me as innocuous, well-crafted fun — but on the whole, it’s hard to argue than any of these films are better than, or even equal to, their original texts. If any of them were erased from existence, very few people would care. Hell, nobody would (except maybe Jan de Bont, Brett Ratner, and Wolfgang Petersen).

Still, I’m having a really hard time with the title of this piece: the films that shouldn’t have been remade. Yes, anecdotally, these movies turned out pretty poorly. But hindsight is always 20/20. Just because the results were bad doesn’t mean the idea was bad. And remaking a film — even a classic — isn’t necessarily a bad idea.

I realize that most remakes are symptomatic of creative bankruptcy in the studio system. I realize that most exist purely to cash-in on the name recognition of a popular cinematic brand. I believe that film lovers should fight for more originality in their movies. But putting up arbitrary limitations is the wrong way to foster creativity. Movies have enough rules already. The best movies are the ones that break all the rules. Even, sometimes, the rules about what should or shouldn’t be remade.

We could very easily make a list of movies that shouldn’t have been remade but were, and turned out pretty well regardless. There was no reason to remake “Invasion of the Body Snatchers,” but Philip Kaufman’s version from 1978 is just as or maybe more vital than Don Siegel’s original from 1956. By 1978, the McCarthyism that fueled the allegory at the heart of the ’56 version was long gone, which is why on some level you could say it shouldn’t have been remade. But Kaufman found new subtext to graft onto the pod people motif and he made the pod people themselves way scarier than they were in the first film. That’s two “Invasion of the Body Snatchers,” both of them excellent.

In explaining why Nicolas Cage’s version of “The Wicker Man” shouldn’t have been made, The Telegraph‘s Mark Monahan says the 1973 “Wicker Man” was “too strange, too original, too of its time ever to brook a remake.” We could probably say the same of Akira Kurosawa’s “Yojimbo,” which became such a good remake — 1964’s “A Fistful of Dollars” by Sergio Leone — it practically invented an entire genre, the spaghetti Western. F.W. Murnau invented the vampire movie with 1922’s “Nosferatu.” Does that mean Tod Browning’s “Dracula” from 1931 — which is essentially a remake — shouldn’t have been made, too? If it hadn’t, that would leave us without Bela Lugosi’s magnificent and iconic Dracula — to say nothing about Christopher Lee’s Count in the Hammer films of the 1950s and ’60s, or Klaus Kinski’s in Werner Herzog’s incredible “Nosferatu” remake from 1979.

Do the bad remakes outweigh the good ones? Absolutely. But the bad sci-fi movies outweigh the good ones, and the bad legal thrillers outweight the good ones, and the bad of any artistic medium outweighs the good of any artistic medium. Remakes aren’t necessarily the best place for cinematic invention — but that doesn’t mean they render cinematic invention impossible. One of Monahan’s “shouldn’t have been remade” titles is the 2011 version of “The Thing.” But the 1982 “The Thing” by John Carpenter was itself a remake of a pretty damn good 1951 thiller called “The Thing From Another World.” The story’s the same, the setting’s the same, even the title card is basically identical. Nevertheless, Carpenter remade it into what some, including this author, consider one of the best horror films of all time. So why should the 1982 “The Thing” exist and the 2011 “The Thing” not exist? The same motivations — i.e. the desire to make a good movie and the desire to make money — drove both productions. One turned out great, one turned out not so great. That’s the gamble of moviemaking. And, to my mind, the brilliance of Carpenter’s “The Thing” is all the proof I need why it’s a gamble worth taking.

“But Matt,” you’re saying, “there’s got to be some movies that are so perfect that they should be untouchable.” “Citizen Kane.” “The Godfather.” “Seven Samurai.” Oh wait, they already remade that one.

And that’s my point. I wouldn’t be dumb enough to remake any of those masterpieces myself, but I’d be mighty interested to see the results of the crazy person who would. Some films shouldn’t be remade? No. What we really shouldn’t do is restrict what filmmakers should or shouldn’t do.


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Do you think certain films should never be remade? Which ones? Tell us in the comments below or on Facebook and Twitter.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

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

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.