DID YOU READ

Tim Grierson Defends the Never-Ending Oscar Season

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Summer movie season is over, but before you can even catch your breath, boom, we find ourselves in the midst of the major fall film festivals: Venice, Telluride and Toronto. These festivals are the launching pad for some of the year’s first serious Academy Award contenders, which might seem ridiculous since the Oscars take place February 24. (That’s more than five months from now.) Nonetheless, from here on out we’re going to be hearing nonstop discussion about what movies and what performances have the inside track for awards. It’s a tiring, silly season. And yet, all in all, I still think it’s pretty terrific.

While most people happily go about their lives not caring a lick about the Oscars until the night of the broadcast, there are whole industries (and several websites) devoted to a year-round obsession with who might win those prizes. It starts in January with the Sundance Film Festival, which this year unveiled the critically acclaimed indie hit “Beasts of the Southern Wild,” and then picks up a little steam in May when the Cannes Film Festival occurs. But early September is when award-mania really begins, and in the last few days there have been glowing reviews for the likes of Paul Thomas Anderson’s “The Master” and Ben Affleck’s “Argo.” But beyond discussing how good these movies are, there’s also a lot of idle speculation about these films’ Oscar chances, as if such a thing could (or should) be quantified.

It’s this element of award handicapping that film critics like me find distasteful. Rather than debating an ambitious movie’s merits or dissecting its thematic intentions, the media spends an inordinate amount of time trying to guess how the approximately 5,500 members of the Academy of Motion Picture Arts and Sciences will feel about the film. The Oscar season reduces an art form to a popularity contest, rewarding movies that are, by consensus, deemed to be “good,” which often disqualifies stronger, nervier films simply because they’re too divisive.

So why do I look forward to this season more than any other?

In part, it’s because Oscar season is the one time of year when a movie’s quality really matters. We’re inundated with awards in the buildup to the Academy Awards — everything from the Golden Globes to prizes from critics’ organizations (including the Los Angeles Film Critics Association, of which I’m a member) — which can make the fall feel like an interminable slog of endless trophies and speeches. But in their own way, each stop on the award-season calendar is an attempt to celebrate the best in filmmaking. Rather than focusing on box office or celebrities, awards are supposed to be based on artistic quality, and while we can all argue about how successful any of these groups are in picking what the “best” movies are, it does shift the focus back to the craftsmanship and skill of the work.

That should be obvious, but sadly it’s not. Anyone who follows film at all knows that it’s a business like any other — it exists to make money. This isn’t something that suddenly happened in Hollywood — from its beginning, the industry wanted to reap profits through any means that it could. That’s why, as frustratingly imperfect as it is, I’m grateful that the endless award season does at least serve as a reminder that movies should be about more than just grosses. The season creates a conversation about what constitutes greatness: Is it a film that stirs your soul? Is it one that leaves you feeling good? Is it one that challenges you? Audiences and critics alike debate these questions all the time, but it’s only really when we get close to the Oscars that those debates take center stage. Let’s not be naïve: The Oscars are about money as well. But, in theory, award season focuses on movies that are actually good, and I’m always in favor of discussing good movies as opposed to wasting time yapping about bad sequels and tired reboots.

Since I tend to be an Oscar apologist, it probably won’t surprise you to learn that I grew up watching the Academy Awards. From an early age, I was attracted to this notion of a group of seemingly wise, seasoned professionals deciding what the best movies were. As you get older, you realize that these professionals are no wiser than anybody else, but what has stayed with me is this notion that the Academy Awards matter — that they coronate films and performances, giving them an immortality they might not otherwise have. (And, of course, that can be a double-edged sword: We all have our own list of movies we can’t believe won Best Picture.) Maybe I’m holding onto that childhood idealism a little too tightly, but nonetheless I take award season seriously because, at the end of it, there are going to be Oscars given out, and I’m concerned that they go to the right people. I realize how ridiculous that is to say: I have no control over the process. But because I’ve loved movies all my life, I feel like I have a stake in how the Academy makes their decisions. I think we all do, despite being powerless to affect the outcome. That’s why I’m less interested in all the endless handicapping — I just care that the voters get it right.

Cynics and realists will probably scoff at this. It’s stupid to care what a bunch of people I’ve never met think is Best Picture. What makes a movie “best” anyway? I don’t know, and nobody else does, either. But I think that’s the point. The completely ludicrous impossibility of deciding what movie is best is what makes it so fascinating. It is, by nature, subjective — no movie beats another movie in the Super Bowl to decide the champion — so it comes down to our biases and preferences. When we’re discussing what movies we love, we’re really talking about what we love and who we are. For all the money and hoopla surrounding the Oscars, I find that I’m less interested in a specific movie winning than I am in getting to the heart of our love for great movies. Award season isn’t so much about that, I realize, but for me it is. I just hope I’m not alone in feeling that way.

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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.

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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.
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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.
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Awkward Dancing

Because every dad needs a signature move.
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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.
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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

Shopping

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.
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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.

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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.

Booger

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.

Ogre

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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