Shelf Life: “White Men Can’t Jump”


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Looking at even the trailer for Oren Moverman’s “Rampart,” it’s hard to believe there was a time when Woody Harrelson was not looked at as primarily a dramatic actor. Certainly, in the last ten or fifteen years he has cultivated an undeniable pedigree as an intense, thoughtful, and entertaining performer to watch. But coming off of TV’s “Cheers” in the late 1980s, Harrelson first ventured into films with a reputation for being a loveable dimwit, or at least an actor who could play one convincingly.

In 1992, when he began to migrate to leading roles in theatrical work, Harrelson made the shrewd decision to star opposite a similarly budding actor, Wesley Snipes, in the film “White Men Can’t Jump.” Its writer-director, Ron Shelton, was an established purveyor of sports-themed stories, particularly ones that danced on an edge between comedy and drama, and the project could theoretically showcase Harrelson’s acting chops without challenging audiences to look at him too much differently than they already knew him from his small-screen work. But was the film successful? And more immediately, does it still work today in all of the ways in which it intended? That’s what this week’s “Shelf Life” set out to determine.

The Facts

Released on March 27, 1992, “White Men Can’t Jump” was a modest but significant success at the box office, earning some $90 million in receipts and firmly establishing Harrelson as a star – on the rise, anyway. The film received only minor nods from critics groups, including a nomination for Best Supporting Actress for Rosie Perez as Harrelson’s girlfriend Gloria, and currently maintains a 77 percent fresh rating on Rotten Tomatoes. The success of the film not only led to bigger roles for Harrelson in films like “Indecent Proposal” and “Natural Born Killers,” but an eventual reunion with Snipes in the 1996 film “Money Train,” which was a critical and commercial failure.

What Still Works

The first 45 minutes of “White Men Can’t Jump” aren’t just terrific, they are the main if not only reason that the film ever earned affection from viewers. Harrelson and Snipes’ constant one-upmanship, as much on a personal level as a racial one, creates an invigorating, imminently watchable chemistry that propels the film forward towards deeper waters. Both Harrelson and Snipes do phenomenal work, being both convincing athletes and charismatic con men, and the rapport they create as actors (much less between their characters) forms one of the more remarkable on screen pairs possibly of all time.

Meanwhile, Rosie Perez manages to channel her force-of-nature personality into a character who’s not just palpably intelligent, but complex, interesting and sympathetic. While managing to be phenomenally sexy (some might say despite her Chihuahua ‘Rican accent), she infuses Gloria with believable substance, especially when she has to sort of acknowledge or observe the film’s underlying themes, and yet creates a credibly unpredictable companion for Harrelson’s bullheaded Billy. As she issues perhaps conventionally female-irrational demands of him (“I don’t want you to get me a glass of water, I want you to sympathize with my thirst”), she somehow avoids being a purely cliched, crazy-woman character, and makes us understand why the two of them are together – and why it’s so hard for her to give him up.

In terms of the basketball – both as a driving force and its cinematic depiction – Shelton gives the sport an immediacy and an energy that sustains the audience even after they’ve seen several games between the two protagonists, or between the two protagonists and their various opponents. Shelton makes it look fun, easy and most of all convincing, showing us not only that Harrelson and Snipes are playing ball themselves, but they’re actually good at it.

What Doesn’t Work

Almost everything after the first 45 minutes of the story feels like a slow and steady decline into redundancy and abrasiveness. Where the friction between Billy and Sidney kept the film alive and fresh in the opening scenes, it later feels too relentless and too acrimonious to be enjoyable, especially when, say, Billy continues to shit-talk their opponents before, during and after the big competition that leads into the final act. While that may have been the film’s point – there is a time when these “movie characters” become real people – it undermines our sympathies for both characters, especially Billy, which is later augmented not just by one bad choice, but a series of remarkably awful decisions. I think there’s three separate scenes in which Billy has to tell Gloria that he lost all of their money, or his money, or some nest egg of theirs that both had worked together to build, and at a certain point, the viewer tunes out on the possibility of him being redeemed.

Additionally, though there’s something admirable about Shelton’s determination to give both characters equal weight, or at least their own complete story, that choice does the film’s narrative momentum a great disservice: by the time the two of them reunite to play in the street ball tournament, the film feels like it should be winding down, and wrapping up some of the story strands it introduces. But there’s still Billy’s bad decision, his re-connection with Gloria via her appearance on “Jeopardy” (which inexplicably he never explains was his doing), the showdown with the “legends,” and the coda afterward. One might be able to chalk this up to the need to bring to fruition the film’s title – perhaps a studio exec was like, “why doesn’t this white man get to jump eventually?” – but this story doesn’t demand two hours to be told, and at that length there needs to be more. Especially since Shelton overplays his hand by having Gloria more or less explicitly state the subtext of the film, venture into a semiserious, self-reflective spiral for Billy, and then try to pull back out to re-engage in the more lighthearted tone of the first segment of the film.

The Verdict

“White Men Can’t Jump” was always a film I had problems with upon its original release, but a recent viewing only confirmed the legitimacy of those criticisms: Shelton engages in a sense of poetry with the subtext that its set-up cannot sustain, and when he tries to apply it to the actual story in a more serious way, it feels incongruous with what happens before, and then after when he’s trying to crowd-please with a charming finale. Overall, the film is flawed at best, featuring three great performances and even greater chemistry that is utilized (for a while) to incredible effect, but in a narrative that weighs too much by half and story that’s too long and convoluted to support it.

Leave your own thoughts on “White Men Can’t Jump” in the comments below.

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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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