DID YOU READ

Tim Grierson on the Triumphant Return of Joaquin Phoenix

072712-the-master

Posted by on

There are several things to savor in “The Master,” writer-director Paul Thomas Anderson’s powerful new film about a postwar cult leader and the young loner he takes under his wing. But chief among them is the performance of Joaquin Phoenix as Freddie, the loner, who sees Dodd the cult leader (played by Philip Seymour Hoffman) as not quite a father figure and not quite a friend. Scarred by his experience in World War II fighting in the Pacific — not to mention being dumped by his underage flame — Freddie is a desperate alcoholic who has clear anger issues and possible mental problems. It’s a role that normally requires a big performance, but what’s remarkable about Phoenix is that while he’s appropriately oversized in his emotions, he’s physically shrunken and recessive otherwise, mumbling his words in such a way that makes you think Freddie would rather just disappear. The character is like a drowned rat with the coiled fury of a lion. Dodd wants to tame him, but no one can — for that to happen, Freddie would need to know what would bring him happiness.

It’s an extraordinary performance, and in retrospect it seems obvious that Phoenix’s entire career has been building to this moment — the clues were there all along. Thank goodness it all didn’t get derailed a few years ago.

When Phoenix began as an actor, he was in the shadow of his older brother River, who had earned accolades starring in everything from “Stand by Me” to “The Mosquito Coast” to “Running on Empty” to “My Own Private Idaho.” River seemed destined to have a long, distinguished career, but his life was cut short when he died at the age of 23 from a drug overdose on Halloween 1993. Joaquin had done some performing by that point — appearing in “SpaceCamp” and “Parenthood” — but he first really announced himself as a serious actor with “To Die For,” the 1995 dark comedy about a conniving weather girl (Nicole Kidman) who seduces an impressionable teen (Phoenix) into killing her husband. Phoenix was not yet 21, but “To Die For” established his onscreen persona: the emotionally wounded, potentially dangerous outsider who might respond with violence or tears in any situation. You’re not sure whether to hug the poor guy or back away slowly.

Over the next 13 years, Phoenix appeared in a wide range of films — everything from “Quills” to “Signs” — but his best roles contained that same DNA shown in “To Die For.” And most impressively, he could provide this unique spark to even big-budget films. His turn as Commodus in “Gladiator” elevates a potentially one-note villain into something more poignant — which, in turn, only makes the character more evil. Playing a weak young man undeserving to inherit the crown of his dying father, the emperor, Phoenix made Commodus a pitiful figure equally consumed by jealousy and ambition. Commodus is a great antagonist because, on some level, he knows Maximus (Russell Crowe) is a better man than he is, and so his constant efforts to destroy the people’s champion is really just a way for Commodus to silence his own doubts about himself. Phoenix earned his first Oscar nomination for the role, and it’s easy to understand why: Few modern film villains are as tortured as Commodus, and Phoenix made you feel his pain, even while you were rooting for Crowe.

But Phoenix hasn’t just been adept at playing bad guys — sometimes, he’s superb portraying good people trying to outrun their dark sides. That was certainly the case with his role as Johnny Cash in “Walk the Line,” a better-than-average musical biopic. Reese Witherspoon won an Oscar for her turn as June Carter, but Phoenix’s Cash was the trickier part, playing a man with such presence and such demons who was trying to find his way toward loving this good woman. Throughout his career, Phoenix has done a fine job portraying people who, if things were different, would probably be fine, upstanding members of society. But they can’t get out of their own way — either their failures or their inadequacies or their addictions grab them by the ankles — and so they stumble forward, and it’s in their refusal to stop trying that they become truly heroic.

That certainly was the case with “Two Lovers,” in which he played a suicidal, imbalanced New Yorker who finds himself drawn to two very different women: a good girl (Vinessa Shaw) and a high-maintenance party gal (Gwyneth Paltrow). Before “The Master,” this was his most complete performance, and it can be tempting to see “Two Lovers” as a warm-up for Freddie’s tortured, almost inarticulate longing. Unfortunately, not enough people saw “Two Lovers,” in part because by the time it came out, Phoenix had announced that he was retiring from acting to focus on a rap career. Of course, the whole thing was a hoax connected to the mockumentary “I’m Still Here,” which pretended to follow his journey from film to music. But after a bizarre, mumbling, bearded appearance on “Late Show With David Letterman” that was part of the act, most assumed that Phoenix had become another brain-dead Hollywood celebrity, and nobody paid much mind to “Two Lovers.” That’s a shame — it’s a film ripe for rediscovery.

“The Master” is Phoenix’s first film since the “I’m Still Here” debacle, and even that mockumentary shows signs of how the actor constructed his portrayal of Freddie. In “I’m Still Here,” Phoenix fearlessly allows himself to look pathetic — there’s little question that his “character” is a terrible rapper — and yet his total commitment to the role (and the accompanying ridicule) is stirring. All of the aspects of Phoenix’s onscreen persona are on display in “The Master”: the vulnerability, the darkness, the bravery, the danger. And with it will probably come his third Oscar nomination. His has been a career that has been marked by its unpredictable, edgy characters — as a longtime fan, it’s gratifying to see him take a part tailor-made for his talents and knock it out of the park the way he does in the new movie. I always knew he had it in him, but even I wasn’t quite prepared for how galvanic it would be.

Watch More
JaniceAndJeffrey_102_MPX-1920×1080

Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

Posted by on

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.

JaniceAndJeffrey_106_MPX-1920x1080

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.

Watch More
IFC-Die-Hard-Dads

Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

Posted by on
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

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.
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.

Watch More
IFC-revenge-of-the-nerds-group

Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

Posted by on
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.

geowash_flat

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.

Watch More
Powered by ZergNet